Fine Art Connoisseur - July-August 2021

DAWN WHITELAW | DISCOUNTING | DIANA R EUTER-TWINING | FLOWER POWER | XU BEIHONG
AU G U S T 2 0 2 1
Coeur d’Alene
Art Auction
Fine Western & American Art
The 2021 Coeur d’Alene Art Auction View works featured in the 2021 Auction and purchase
Auction Catalogs & Event Tickets on our website.
will be held July 31 in Reno, Nevada Visit our website at www.cdaartauction.com
at the Grand Sierra Resort. 208-772-9009 • info@cdaartauction.com
Eanger Irving Couse (1866 – 1936), The New Rug (detail), oil on canvas, 45.25 × 33.75 inches, Estimate: $ 250,000 – 350,000
Anthony Van Dyck (1599–1641), Nicolaas Rockox, c. 1634–35, black chalk on paper, 11 7/8 x 8 1/2 in., Royal Collection
Trust © Her Majesty Queen Elizabeth II, on view through September 26 at the Barber Institute of Fine Arts (Birmingham,
England, barber.org.uk) in the exhibition Making a Mark: Dutch and Flemish Drawings from the Royal Collection
F I N E A R T C O N N O I S S E U R · C O M
J U L Y / A U G U S T
2 0 2 1
— Last words of the British painter Thomas Gainsborough, 1788
We are all going to heaven, and Van Dyck is of the party.
003
AMERICAN T ONALIST S OCIE TY
Fostering the Tradition and Art Form of Contemporary American Tonalism
Mary Erickson Mary Graham
Late Day Surf, Oil on Linen Stone Waves, Oil on Linen Mounted on Board, 24 x 36 in.
ww.maryericksonart.com www.marygraham.com
John MacDonald AJ Wainright
North Wind, Oil on Linen Panel, 24 x 30 in. In the Night, Oil on Canvas, 24 X 24 in.
www.jmacdonald.com www.ajwainright.com
Visit AmericanTonalistSociety.com or Instagram @americantonalistsociety

Vakseen Grant Gilsdorf
Doug Webb
ICONIC
Curated by Steven Alan Bennett & Dr. Elaine Schmidt
July 1 to August 28, 2021 | WMOCA
Tony Armendariz Suzy Smith

Paula B.Holtzclaw PUBLISHER
AWAM , A IS, OPA B. Eric Rhoads
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July 10- August 7, 2021
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w w w. Pau l a BHolt z c l aw f i ne a r t .c om
006 J U L Y / A U G U S T 2 0 2 1 F I N E A R T C O N N O I S S E U R · C O M
Jim Rabby has painted abstracts and abstract impressionism, professionally since
1961. The Adobe is proud to be Jim’s home gallery. Visit our Website to view Jim
Rabby’s original oil paintings along with many other award-winning artists!
WKHDGREH¿QHDUWFRP
O n the valley floor, golden colors cloak the
landscape as summer reaches full fruition
and the sun edges southward. Painted from a plein
BRAD TEARE finds a beautiful scene and creates a
small painting on location. He then develops the idea
into a larger color study. When satisfied the preliminary
work captures the essential emotions, he proceeds to a
larger canvas. The preparatory work and a detailed un-
air sketch, the fleeting light is captured in thick, derpainting allow Brad to complete the final painting in
textural strokes of vibrating color. two to three spontaneous sessions.
Brad Teare painting on
Palace Ave. Gallery • 123 West Palace Avenue location. Above: Summer
Santa Fe, NM 87501 • 505.986.0440 Color, oil, 36 x 36”
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F I N E A R T C O N N O I S S E U R
AU G U S T 2 0 2 1 • VO LU M E 1 8 , I S S U E 4
003 Frontispiece:
016
Anthony Van Dyck
Publisher’s Letter
059
ARTISTS MAKING THEIR MARK:
095
JENNIFER BALKAN:
THREE TO WATCH PROCESSING PANDEMONIUM
020 Editor’s Note We highlight the talents of Hannah Murray, By Peter Trippi
098
Nicolas V. Sanchez, and Kathryn Stedham.
062
025 Favorite: Joyce
Carol Oates
125 Off the Walls POLLY THAYER: PORTRAITIST,
MAKING TIME WITH SCULPTOR
MODERNIST, PHILANTHROPIST
154 Classic Moment: DIANA REUTER-TWINING By Jeanne Schinto
104
By David Masello
Conor Walton
066
BLOOMS FOR US ALL
GRINLING GIBBONS: A MASTER
CARVER’S LEGACY LIVES ON
By Max Gillies
076
By Louise Nicholson
A GARDEN GROWS ON 28TH

111
XU BEIHONG: CHINA’S FIRST
STREET
By Robin A. Jess and Peter Trippi TRANS-NATIONAL ARTIST
082
By Aihua Zhou Pearce
THE NATIONAL SCULPTURE

116
DISCOUNTING: THE ART WORLD’S
SOCIETY EXCELS YET AGAIN
By Kelly Compton OPEN SECRET
085
By Daniel Grant
MARINE ART GOES GLOBAL

By Max Gillies
119
GREAT ART NATIONWIDE
090
We survey six top-notch projects occurring this
summer.
ON THE COVER
Erik Ebeling (b. 1982), Chris
(detail), 2021, cast resin
composite (edition of 6), 21 in.
DAWN WHITELAW:
LEARNER,TEACHER, MASTER
122
ART IN THE WEST:
high (overall), on view through By Daniel Grant
August 22 in the National
SUMMERTIME BECKONS
There are at least six great reasons to visit the
Sculpture Society’s 88th Annual
American West this season.
Awards Exhibition at Brookgreen
Gardens (South Carolina). For
details on the exhibition, please
see page 82.
Fine Art Connoisseur is also available in a digital edition. Please visit fineartconnoisseur.com for details.
www.bethclaryschwier.com
P U B L I S H E R ’ S L E T T E R
H MAD
RUSH O AR
W
hat effects have COVID-19 Fine Art Connoisseur mourns the recent passing
lockdowns had on the art of Richard Schmid, who inspired so many people
world? I’ve spent a lot of throughout his life. He painted the portrait of Eric
time posing this question Rhoads at left in Putney, Vermont, 14 years ago.
over the past few months,
and the responses have been wide-ranging.
I’ve seen dozens of galleries disappear, una- in domestic tourism this year (many folks
ble to make their rent payments. I’ve heard doz- plan to explore America rather than attempt
ens of artists say it was their worst sales year ever. foreign travel) will extend this boom. They
On the opposite side of the spectrum, also sense that some clients see art as a good
galleries and artists have said they are thriv- investment, as a useful hedge against the pros-
ing, selling more art than ever. Walls stared pect of raging inflation.
at for months on end have needed new paint Will this last? Nothing lasts forever, but
and new artworks; homes have been given a along with America’s still-hot home-sales
brand-new look. (If you stare at anything long market comes continuing demand for deco-
enough, I suppose you can tire of it.) rating services, and thus for acquiring art. One
Now that we’re reaching critical mass, dealer told me he has seen people moving out
lockdowns are loosening, and people are feel- of cities to smaller towns, where they now
ing more free to travel, the pent-up demand want art that suits and reflects that region.
seems to be triggering massive change. Had All of this only reinforces the ongoing
those cash-strapped galleries been able to sur- importance of art galleries and their curatorial
vive, they might just have enjoyed a gold rush eye. Quality will always prevail over quantity.
like none since the go-go 1980s. Getting the best art is now everyone’s key chal-
RICHARD SCHMID (b. 1934–2021), Dealers I check in with regularly tell me lenge, and so galleries’ role looks more signifi-
Portrait of Publisher B. Eric Rhoads, 2007, foot traffic is high. “Our gallery has not wel- cant than ever.
oil on canvas, 24 x 18 in., private collection comed this many visitors in the past few years,” As always, Fine Art Connoisseur encour-
says one owner. “People are coming in and ages art lovers to become collectors, to find a few
buying five, six, even eight paintings at a time.” artists you love and acquire several of their best
He claims that clients have money burning pieces. None of us wants a world where artists
holes in their pockets because of unrealized cannot survive, which was clearly the case for
travel plans and fewer nights out over the last some during the pandemic. Instead, we want to
year. “I’ve never seen anything like it, and I see artists thriving and making even better art.
hope it lasts a while,” he concludes. Bottom line: This rush to art may be a
The irony is that many dealers’ biggest bit mad, but it is also a great moment to get
fear now is obtaining enough art to sell. His- collecting.
torical works are at a premium and harder to
find, and few galleries normally plan ahead to
sell out a year’s worth of inventory in a single
month or two. Thankfully, many artists did
nothing but create art during the lockdowns, B. ERIC RHOADS
B
and, from what I can tell, many experienced Chairman/Publisher
vast improvements in quality because they bericrhoads@gmail.com
were not distracted by the hum of normal life. facebook.com/eric.rhoads
Interestingly, scarcity is driving prices up @ericrhoads
and dealers are feeling that impending growth
After Munnings
19 “ H x 26 “ W 13 “ D, Bronze (cire perdue)
www.bronzed.net | dreutertwi@aol.com | 803-824-9123

DAVINA
PERL
davinaperlfineart.com
New studio in
Lucca, Italy
E D I T O R ’ S N O T E
EUROPE AWAITS
T
he first decade of Fine Art Connois- Gemäldegalerie (Caravaggio, Rembrandt, and
seur trips have become legend- two Vermeers), the Alte Nationalgalerie (Frie-
ary, ranging across almost every drich, Manet, and Menzel), and the Die Brücke
European country from Russia to Museum (early 20th-century German Expres-
Spain, from Scotland to Greece. sionism). We will also probe Berlin’s thriving
We began in 2010 with a trip to St. Petersburg contemporaryartsceneattheLempertzauction
and the Baltic, and our most recent adventure house, galleries handling newly made realism,
was in Provence and Scotland (quite the com- and several artists’ studios.
bination). Not surprisingly, our plans to visit And because this is Berlin, we will recon-
Vienna, Berlin, and Dresden in 2020 were sider its troubled 20th-century history at
delayed a year, but now we are ready to head the restored Reichstag, Brandenburg Gate,
there this October. and Checkpoint Charlie. We will also take a
Fine Art Connoisseur Publisher Eric daytrip half-an-hour southwest to Potsdam,
Rhoads and I are busy finalizing the day-by- where legendary imperial palaces such as
day itinerary for this masterpiece-rich odyssey Sans Souci and Charlottenhof await us, along
in Austria and Germany, which encompasses with a rare exhibition of East German socialist
famous sites and also unexpected ones well off realist paintings that are finally coming out of
the beaten track. As both America and Europe storage after decades of neglect.
reopen, it is a joy to be reconnecting with our Those who want still more great art are
trusted colleagues in these cultured cities to welcome to join us for the optional three-night
ensure we get special access and behind-the- post-trip in Dresden, only a two-hour drive
scenes experiences every day. south of Berlin. There we will walk through-
The main program will start with four out this breathtaking Baroque city, which has
nights in the heart of Vienna. On our hit list been rebuilt — stone by stone — since the fire-
in Austria’s capital are the grand Kunsthis- bombing in 1945. The Baroque Zwinger Pal-
toriches Museum — with its revered Bruegel, ace’s collections of Old Master paintings and
Rubens, and Vermeer paintings — and the Bel- sculpture were recently reinstalled, and con-
vedere, where Gustav Klimt’s The Kiss reigns tain yet another Vermeer and even Raphael’s
supreme. We will visit the Albertina, with Sistine Madonna. We will also visit the spot
its intricate drawings by Albrecht Dürer, and where Augustus the Strong of Saxony and
the buzzing Dorotheum, one of the Poland founded the world’s first museum in
world’s leading auction houses. 1723. The legendary Green Vault is only one
Our group will relive the glory portion of his Royal Palace, which we will
of the Habsburg empire not only by explore fully with experts. Lovers of 18th-
exploring the eye-popping chapels century Meissen porcelain will be especially
and chambers of the Imperial Pal- happy in Dresden, which is where that famous
ace complex, but also the Hofmo- ceramics manufactory got its start.
biliendepot — an ordinary-looking For all three cities, we have built in time
warehouse filled with the amaz- for independent exploring, shopping, and
ing furniture and other household evenings at the opera, ballet, and symphony —
TRIPPI PHOTO: FRANCIS HILLS

items this dynastic family used reg- among the best in the world. October is a great
ularly. And, of course, we will pay month to visit Austria and Germany because
close attention to the artistic flow- the weather is comfortable, but not yet cold.
ering of Vienna circa 1900; a lead- I am personally very excited about this
ing scholar of the Werkstätte and trip because we’re pulling out all the stops to
Secession movements will show us some of create what will surely be a unique art expe-
Berlin’s Brandenburg Gate his favorite creations by such talents as Josef rience. To learn more, visit FineArtTrip.com
Hoffmann and Otto Wagner. or for questions, contact our travel partner,
Next, we fly to Berlin for a five-night stay, Gabriel Haigazian, at gabriel@thectpgroup.
during which we will dig deeply into the Ger- com or 818.444.2700.
man capital’s incredible heritage, starting with I hope to see you this October for another
its spectacular museums. Among them are the memorable adventure with Fine Art Connoisseur.
40th | Auction & Quick Draw
SE P T E M BE R 13 thh–18
8thh • 2021 i Cod
dy, Y
— Fe t u ri g ver 100 Outstandingg Artists —
THOMAS KEGLER • THE DAWNING, JOHN 14:27
Join Us for the Many Educational Opportunities:

Painting on the Porch • Artist Tours • Lectures & Great Cody Hospitality
Auction to be Live-Streamed and In-Person This Year!
888.598.8119 | www.buffalobillartshow.com
PART OF
Patricia A.
Griffin
Sunday Fun Day 30x60 oil on linen
GoldensteinGallery.com
(928) 204-1765
Sedona, AZ
®
MUSKEGON MUSEUM of A RT
WRIT TEN BY DAVID MASELLO
A V I S I O N A R Y O N A V I S I O N A R Y
JOYCE
CAROL OATES
Author
Photo: Dustin Cohen
Early Spring Sunlight

Charles Burchfield (1893–1967)
1950, watercolor and charcoal
on paper, 25 1/2 x 31 1/8 in.
Collection of the Burchfield-Penney Art Center,
gift of Dr. Meyer H. and Ann S. Riwchun, 2000
oyce Carol Oates knows how to tell a

story. For hundreds of pages at a time,
she paints vivid images of places and
characters who are immersed in compli-
cated scenarios, many of which might be called
unpleasant circumstances. But in her dozens
of novels and short stories and collections of
poetry, whoever she introduces is someone
a reader wants to follow. While Oates has
been creating stories for decades, she has also
been admiring another kind of storyteller, the
painter Charles Burchfield (1893–1967). that my husband [Ray Smith] and I had pur- Early Spring Sunlight is, at once, a
It is ironic, in some ways, that Oates chased more watercolors by Burchfield at a wholly accessible work showing a snow-
would like Burchfield’s paintings so much, time when they were not so expensive as they bearded landscape, interspersed with nas-
since, as she says, “Burchfield’s art con- are now.” The Center holds the largest public cent seasonal greenery and ramshackle
tains virtually no human figures.” Oates’s collection of works by Burchfield, including rural structures, but also incorporating a
oeuvre is about humans occupying par- some 70 volumes of his handwritten journals style that’s dreamlike, even perhaps dis-
ticular settings and situations. For years, and 25,000 drawings and other ephemera. turbing. “Burchfield has immersed himself
she has owned a Burchfield painting, Barn In looking at Early Spring Sunlight, Oates in the swirl of ‘atoms in the void,’” Oates
through Trees, that hangs in her Princeton recognizes how it reflects almost all of Burch- says. “He’s given us a sensuous, visual life
home, and at which she claims to “never field’s works — watercolors “suffused with that all but quivers and shimmers before
tire of looking.” But she admits, too, to lov- visionary/transcendent light.” She adds that us.” Oates likens Burchfield’s watercolors
ing Early Spring Sunlight (1950), which is in his works have “an air of the, at times, almost to Winslow Homer’s, about which she
the permanent collection of the Burchfield- grotesquely surreal, dreamlike. Burchfield has written, though she emphasizes that
Penney Art Center at Buffalo State College. reminds me of [William] Blake — the tran- Burchfield’s carry a different kind of charge.
“I was very fortunate to have known scendental/mystical vision in one’s backyard.” Even though this painting and others by
Charles Penney,” Oates explains, “the wealthy Many of Oates’s novels take place in Burchfield represent some middle ground
Lockport [New York] resident who had a upstate New York, in and around the very between realism and what Oates has called
tremendous Burchfield collection, which places from which Burchfield and she come. a “mysterious animism,” one of Burchfield’s
he gave to the city of Buffalo to establish a “It is incidental,” she insists, however, “that friends, Edward Hopper, considered him
museum. Penney was the most eccentric Burchfield comes from a part of the U.S. not an accurate observer. As Hopper wrote in
person I’d ever met. He collected Americana far from where I was born and lived until 1928, “The work of Charles Burchfield is most
— everything from old bottles and bottlecaps I was 18, and that he lived in Buffalo. I am decidedly founded, not on art, but on life, and
to art. He was a friend of my parents. I wish from a rural community north of Buffalo.” the life that he knows and loves best.”
F I N E A R T C O N N O I S S E U R · C O M J U L Y / A U G U S T 2 0 2 1 025
The first art fair
taking place
in an artwork
GESAMTWERKSTATT
Master Sculptor
7 - 15
Jan De Cock
shows his tribute to AUGUST
2021
Master Painter
René Magritte
GRAND CASINO KNOKKE BELGIUM
K AT H R Y N S T E D H A M
Enduring West, August 27 – September 18, 2021

Artist Reception: Friday, August 27th from 5 – 7 pm
Monument to the Sun (detail), oil on canvas, 48" h x 60" w
544 South Guadalupe Street, Santa Fe, NM 87501 | 505.954.9902 | www.blueraingallery.com

NOW THROUGH SEPTEMBER 5, 2021
ARTWORK FOR SALE ON SITE AND ONLINE

WESTERNMUSEUM.ORG. PROCEEDS SUPPORT THE ARTISTS AND THE MUSEUM
21 N. Frontier Street,
Wickenburg, AZ 85390
928.684.2272
SPECIAL THANKS TO
Mian Situ
Morning Hours, 2021
Oil
28 x 20 inches
QUEST FOR THE WEST ART SHOW AND SALE ®
SEP 10-11, 2021

Join us for one of the country’s top Western art shows. Meet special guest, actor
Wes Studi (Cherokee) —Last of
Enjoy Hoosier hospitality at this must-see show and sale, featuring the country’s biggest the Mohicans,
names in Western art. Meet the artists in an intimate setting and discover why Indianapolis Geronimo, Dances
is one of the most popular event destinations in the country. with Wolves,
Hostiles, Avatar
Register online at www.quest.eiteljorg.org or contact Kay Hinds at 317.275.1341 or and more. Studi
khinds@eiteljorg.com. You may also register as an absentee buyer. is the first Native
American actor to
The art show will be open to the public Sept. 12–Oct. 10.
receive an Oscar.
Photo by Jen Boyer
PRESENTED BY:
Western Art Society
EVENTS SUMMER 2021
Images: wLinda Tippetts, Model at Chinese Art Academy, c. 1990s, oil on canvas, private collection;
Linda Tippetts, Casino Building, Catalina, c. 1990s, oil on canvas, private collection.
PLEIN AIR MONTANA PAINT OUT: JUNE 17-24, 2021
PARTY AND SALE: JUNE 26, 5-8 PM
GLACIER EXHIBITION: JUNE 26-JULY 31, 2021

ONLINE AUCTION: JUNE 26-JULY 31, 2021
35 SELECTED ARTISTS + MORE INCLUDED IN THE ONLINE AUCTION!
(Top to bottom, left to right)

FLY.CAUSEPILOT.COM/HOCKADAYMUSEUMOFART/PLEINAIRGLACIER2021
PLUS
ROADS WELL LINDA TIPPETTS RETROSPECTIVE

TRAVELED-S0ME AUGUST 6-OCTOBER 2, 2021
WERE GRAVEL MEMBERS RECEPTION: AUG. 5, 5-7 PM
JOIN US! HISTORIC DOWNTOWN KALISPELL, MT
WWW.HOCKADAYMUSEUM.COM
SOCIAL & SOLITARY
Reflections on Art, Isolation, and Renewal
THROUGH SEPTEMBER 19, 2021
96 Lyme Street, Old Lyme, CT • 860.434.5542
FlorenceGriswoldMuseum.org
Harry L. Hoffman, Harvest Moon Walk, ca. 1912. Oil on canvas, Florence Griswold Museum, Anonymous gift.
Generous support provided by Connecticut Humanities, the Department of Economic and Community Development,
Connecticut Office of the Arts, and WSHU Public Radio.
Photos by Kathy Tarantola/PEM.
AUTHENTIC Adorning the doorways of the Peabody Essex Museum’s
Sailors
historic houses in Salem, Massachusetts, these unique
wreaths are handcrafted on the shores of the Bay of
Fundy with reclaimed lobsterman rope. Made using
Wreaths
the traditional Turk’s head knot tied aboard ships for
centuries, these elegant wreaths will withstand the tests
of time and the elements.
FROM NOVA SCOTIA Shop an array of colors and sizes in store

or online at the PEM Shop.
Subscribe to our newsletter to get the latest 161 ESSEX STREET

promotions, sales, new releases and more! SALEM, MASS. 01970 #PEMSHOP
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Sculpture Spotlight
W
elcome! Highlighting the tremendous quality of
sculpture being made today is something we at
Fine Art Connoisseur always look forward to with
enthusiasm. On view in the
following pages is an array of three-dimensional artworks
that remind us how endlessly inventive our sculptor
colleagues can be. They seemingly never run out of new
ways to depict forms in space, and we remain grateful for
their energy and skill.
Whether it is classical or abstract, a portrait bust, a bas-
relief, or a life-size figure, making a sculpture is seriously
hard work. Perhaps none of the fine arts entails quite so
many steps as sculpture does. From concept drawing to
maquette, from molding or chiseling to casting or firing,
from hand-finishing to rigging, the process can be slow,
expensive, even dangerous.
Fine Art Connoisseur recognizes that sculptors don’t always
get the attention they deserve. This issue — including the
impressive section that starts here — offers an inspiring STEVEN A. CARPENTER NSS ELECTED
opportunity to set that straight, and now we look forward to York, Maine
hearing back from readers like you about the sculptures you
Up from the Deep, 17 x 13 in., bronze
have been admiring lately.
Available through the artist
Congratulations and thanks to all the sculptors represented
sarcen@maine.rr.com | 978.609.3971
here. Please keep up the great work.
www.stevenaldencarpenter.com
Peter Trippi
Editor-in-Chief, Fine Art Connoisseur
NNAMDI OKONKWO
Fayetteville, Georgia
Celebration, 25 x 30 x 17 in., bronze

nnamdi@nnamdiart.com
404.406.5757
www.nnamdiart.com
Represented by Colm Rowan Fine Art,
East Hampton, NY; Guarisco Gallery,
Washington, DC
| York, ME
LUZ-MARY HARRIS NSS ASSOCIATE

New York City, New York
Resilience, 18 x 17 x 11 in., bonded bronze

Freddy, 15 x 5 1/2 x 5 1/2 in., bronze
lmhansonia@earthlink.net | 646.201.3139
www.lmh-art.com
Studio/gallery visit in NYC by appointment
YENNY COCQ JACQUELINE LORIEO NSS ASSOCIATE

Santa Fe, New Mexico Yonkers, New York
Caress, 6 in., bronze Layla, 5 x 21 x 9 1/2 in., bronze

Available through Yenny Cocq Studio/Gallery Available through the artist
Sculpture in the Park Exhibiting Artist
jacquelinelorieo@yahoo.com | 914.595.2545 | www.jacquelinelorieo.com
yenny@yennycocqsculpture.com | 505.670.6053 Studio visit in Yonkers by appointment
www.yennycocqsculpture.com
Studio gallery in Santa Fe, visits by appointment
CYNTHIE FISHER
Hamilton, Montana
Confluence, 18 x 24 in., mixed media | Ambuscade, 19 x 25 in., mixed media

Pre-rut Games, 27 x 26 in., mixed media | Wisdom, 40 x 27 in., mixed media
Sculpture in the Park Exhibiting Artist

cynthieart@gmail.com | 406.360.0131 | www.cynthiesoriginals.com
See website for gallery representation
CONSTANCE RAMSEY BOWDEN
Richmond, Virginia
Dark Remembrance, 12 x 12 x 20 in., water-based clay

constancebowden@yahoo.com
804.370.2760
www.manchesterstudiosrva.com
MOANA PONDER NSS ASSOCIATE DAVID KLASS NSS FELLOW

Novato, California New York, New York
Dare to Dream, 53 x 17 x 8 in., bronze Audrey, 14 x 8 x 8 in., bronze

Available through Masterpiece Gallery, Santa Fe, NM Available through the artist
masterpiecegallerysf@gmail.com | 505.982.6701 dklass@verizon.net | 646.369.3491

www.pondersculpture.com www.pegasusbydavidklass.com
Represented by Art Incorporated, San Antonio, TX;
Masterpiece Gallery, Santa Fe, NM
MAIDY MORHOUS
NSS ASSOCIATE
Del Mar, California
Don’t kill the goose!

12 x 7 x 6 in., bronze
maidy@maidymorhous.com
www.maidymorhous.com
Represented by
Gefen Fine Art,
San Francisco, CA;
Sparks Gallery,
San Diego, CA;
Jonathan Ferrara Gallery,
New Orleans, LA
ERIK DURANT NSS ELECTED KEVIN CHAMBERS NSS ELECTED

New Bedford, Massachusetts Atlanta, Georgia
Ariadne, 23 x 15 x 7 in., bronze Feminile Fuego, 14 x 6 x 6 in., stoneware with iron patina
Available through Bowersock Gallery Available through dk Gallery, Atlanta, GA
erik@erikdurant.com | 508.971.8120 sculpture@klcstudiosinc.com
www.erikdurant.com www.kevinchambersart.com
Represented by Bowersock Gallery, Provincetown, MA Represented by dk Gallery, Marietta, GA;
Robert Lange Gallery, Charleston, SC;
Anderson Fine Art, St. Simon, GA
KURT KLEIN
Macomb, Michigan
Spiritus, 31 x 34 x 19 in., ultra-high performance concrete

kurtkleinfineart@comcast.net | www.kurtkleinfineart.com
Gallery inquiries welcome
CHIPPIE KENNEDY NSS ELECTED

Lunenburg, NS, Canada
Niobe, 73 in., bronze with aluminum base

LEAANN COGSWELL NSS FELLOW
Windsor, Connecticut
Available through LAURIE SWIM GALLERY, Lunenburg, NS, Canada
Marquise, 17 1/2 x 11 x 10 in. (life size), terracotta
swim@ican.net | 902.640.2220 | www.laurieswim.com
Represented by LAURIE SWIM GALLERY, Lunenburg, NS, Canada
studiowrks@sbcglobal.net | www.leaanncogswell.com
RUTH GREEN
Santa Barbara, California
Cheetah Study, 10 x 3 1/2 x 5 1/2 in., bronze

rgreen1377@gmail.com | 805.969.6139
www.ruthgreenfineart.com
GEDION NYANHONGO
Phoenix, Arizona
LEE HUTT NSS FELLOW
A Spring Celebration, 75 x 29 x 12 in.,
South Hadley, Massachusetts
hand-carved stone sculpture — springstone
George Floyd, life size, clay Available through the artist
gedionnyanhongo@gmail.com | 480.255.4184
leehutt@mac.com | 413.552.8900 | www.leehutt.com www.gediongalleries.com
SUSIE CHISHOLM NSS ELECTED
Savannah, Georgia
Johnny Mercer, life size, bronze

suegchisholm@aol.com | 912.441.6261
www.susiechisholm.com
Represented by Reynolds Square Fine Art, Savannah, GA;
Four Corners Fine Art, Bluffton, SC
KRISTINA KOSSI NSS ASSOCIATE LESLIE HUTTO SAA

NYC and Litchfield, Connecticut Pell City, Alabama
Peace, 56 x 13 x 10 in. + base 8 x 15 x 15 in., In for a Dollar, 28 x 29 in., bronze

resin with wax patina and gold leaf olive branch in hands Available through the artist
ljhutto@gmail.com | 256.390.2377
info@kristinakossi.com | www.kristinakossi.com www.lhuttosculpture.com
ELIZABETH MACQUEEN
NSS MEMBER
U.S. citizen living globally
Persephone: A Miracle in Stone,

life-size, Bianco Puro di Carrara
(extinct stone)
Available through MacQueen Fine Art
elizabeth@macqueenfineart.com
www.macqueenfineart.com
Visit website for gallery representation
BARBARA LISS
NSS ASSOCIATE
Hamilton, Montana
Guardian,
Healing and Rebirth Series,
21 x 13 x 6 in., concrete
MARY TAYLOR NSS ASSOCIATE
Available through
Honeoye Falls, New York
Montana Bliss Artworks
Imminence, 34 x 64 x 27 in.,
bliss@montanablissartworks.com
stainless steel, paint, clear coat
406.381.2488
www.montanablissartworks.com
mary@marytaylorsculpture.com | 585.624.9760 Represented by Montana Bliss
www.marytaylorsculpture.com Artworks, Hamilton, MT
Represented by Pittsford Fine Art, Pittsford, NY;
Memorial Art Gallery, Rochester, NY;
Genesee Country Museum, Mumford, NY
Signature Artists in the
Exhibition include:
Peter Adams
California Art Club, est. 1909
Sunny Apinchapong-Yang presents
John Asaro
Béla Bácsi
Brian Blood
John Budicin 110th Annual
Cathey Cadieux
Warren Chang
Lorenzo Chavez
Gold MedalExhibition
Lynn Christopher
John Cosby July 10 – August 14, 2021
Karl Dempwolf
Dennis Doheny
Kathleen Dunphy
On view at the Hilbert Museum of
Adrian Gottlieb California Art at Chapman University
Robin Hall
167 North Atchison Street, Orange, California 92866
Albert Handell
Jeffrey Horn
Timothy Horn Virtual Opening Celebration Peter Adams
Gregory Hull
Michelle Jung
Saturday, July 10, at 5 p.m. Pacific Time
Laurie Kersey
Chuck Kovacic
Paul Kratter
Calvin Liang
Simon Lok
Carolyn Lord
Kim Lordier
Adam Matano
Jim McVicker
Jennifer Moses
Charles Muench
Ernesto Nemesio
Michael Obermeyer
Lisa Mozzini-McDill Andrea Mosley
Jesse B. Powell
Camille Przewodek
Gerald D. Rahm
Ray Roberts
Junn Roca
Dan Schultz
Frank M. Serrano
Mian Situ
Michael Situ
W. Jason Situ
Christopher Slatoff
Alexey Steele
William Stout
Jove Wang
Aaron Schurr Adam Matano
Presenting Sponsor
Alyce Williamson
All works are available for acquisition. californiaartclub.org/goldmedal
Celebrating the Heritage and Practices of Traditional Fine Arts Worldwide

KIM LORDIER
Millbrae, California
Memory of a Painted Horse, 24 x 30 in., pastel on archival board
650.270.8352 | www.kimfancherlordier.com
Represented by Illume Gallery of Fine Art, St. George, UT; Huse Skelly Gallery, Balboa Island, CA;
Holton Studio Gallery, Berkeley, CA
LARRY CANNON
Santa Clarita, California
Monastery Beach
16 x 20 in., watercolor on paper
cdgplan@pacbell.net
661.367.4886
www.cannonwc.com
ELLEN HOWARD
San Mateo, California RICK J. DELANTY
San Clemente, California
A Touch of Light, 9 x 12 in., oil on linen panel
Available through California Art Club 1332 Santa Barbara Street, 24 x 30 in., oil on board
Available through California Art Club
ellenhowardart@gmail.com | www.ellenhowardart.com
Represented by Holton Studio Gallery, Berkeley, CA rdelanty@cox.net | 949.412.6907 | www.delantyfineart.com
Represented by Waterhouse Gallery, Santa Barbara, CA;
Illume Gallery, St. George, UT
PETER ADAMS
Pasadena, California
Diana of the Hunt, 40 x 30 in., oil on panel
info@americanlegacyfinearts.com | 626.577.7733 | www.americanlegacyfinearts.com
Represented by American Legacy Fine Arts, Pasadena, CA
MARY ASLIN
San Juan Capistrano, California
Tender Steps, 32 x 22 in., soft pastel on sanded French paper
mary@maryaslin.com
949.812.1429
www.maryaslin.com
LAURIE HENDRICKS
South Pasadena, California
Printemps, 12 x 9 in., oil on linen board
lauriehendricksart@gmail.com
www.lauriehendricksart.com
NAOMI SHACHAR
Mission Viejo, California
Water Lilies II, 32 x 30 in., oil on linen
nomika.art@gmail.com
949.678.5416
www.nomika.info
ECHO BAKER
Tustin, California
Enchanting, 9 x 12 in., oil on panel
bakerli63@gmail.com
www.echofineart.com
Oil Painters of America 2021 Salon Show Juried Exhibition Of Traditional Oils
CHRISTOPHER FORREST
Brigantine, New Jersey
Hazy Morning Hangout, 16 x 20 in., oil on panel

To purchase, please call 770.536.2575
www.chrisforrestart.com
BRENDA COLDWELL JIM HALLENBECK

Franklin, Tennessee Raleigh, North Carolina
Snow Glow, 16 x 20 in., oil on linen Duggars Creek Linville Falls, NC, 16 x 20 in., oil on canvas
To purchase, please call 770.536.2575 To purchase, please call 770.536.2575
www.brendacoldwell.com www.jimhallenbeckfineart.com
Represented by Artspace, Raleigh, NC; Mattie King Davis Gallery, Beaufort, NC;
Bel Air Art Center, Rocky Mount, NC
Quinlan Visual Arts Center, Gainesville, GA • June 10–August 7, 2021 • www.oilpaintersofamerica.com
JOHN BUXTON
Allison Park, Pennsylvania
Eagle Feathers, 20 x 20 in., oil on linen

www.buxtonart.com
Represented by Lord Nelson’s Gallery, Gettysburg, PA
SUSAN WELLINGTON MITCH CASTER OPA

Denver, Colorado
Flowood, Mississippi
Beach Bum, 18 x 24 in., oil on linen
Clear Creek, 16 x 20 in., oil on linen panel
www.mitchcasterfineart.com
www.susanwellingtonart.com
Represented by Marta Stafford Fine Art, Marble Falls, TX;
Visit website for gallery representation
Spirits in the Wind Gallery, Golden, CO; Heritage Fine Arts, Taos, NM
Oil Painters of America 2021 Salon Show Juried Exhibition Of Traditional Oils
CAMILLE PRZEWODEK OPAM

Petaluma, California
Monterey Shore, 14 x 20 in., oil on panel

To purchase, please call 770.536.2575 ANN GOBLE
www.przewodek.com Gainesville, Georgia
Represented by Huse/Skelly Fine Art Gallery, Balboa Island, CA
Trouble, 16 x 16 in., oil
www.anngoble.com
Represented by Reinert Fine Art, Charleston, SC
DENISE ANTAYA KATHERINE GROSSFELD

Kingsville, ON, Canada Durham, North Carolina
Illumination, 11 x 14 in., oil on panel After School Cookie Time, 18 x 18 in., oil on panel
To purchase, please call 770.536.2575 To purchase, please call 770.536.2575
www.deniseantaya.com www.katherinegrossfeld.com
Represented by Westland Gallery, London, ON; Bridgeport Fine Art Gallery inquiries welcome
Gallery, Kitchener, ON; Oxtongue Craft Cabin Gallery, Dwight, ON
Quinlan Visual Arts Center, Gainesville, GA • June 10–August 7, 2021 • www.oilpaintersofamerica.com
KAREN BUDAN OPA

Scottsdale, Arizona
On the Road Again, 16 x 20 in., oil on panel

www.karenbudan.com
Represented by Lovetts Gallery, Tulsa, OK; ArtQwest Gallery, Scottsdale, AZ JOHANNE MANGI
North Haven, Connecticut
Next Generation, 10 x 8 in., oil on linen
www.johannemangi.com
Represented by West Wind Fine Art, Walpole, NH
WILLIAM ROGERS
Antigonish, NS, Canada
Moire Looking Off, 24 x 18 in., oil on canvas

www.williamrogersart.com
Represented by Down to Earth Gallery, Antigonish, NS;
Zwickers Gallery, Halifax, NS;
Details Fine Art Gallery, Charlottetown, PEI
JOAN DRENNAN
Saratoga, California
Top Hat Peonies and Bearded Irises,

36 x 12 in., oil on canvas
www.joandrennanfineart.com
Represented by Gallery 24, Los Gatos, CA
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There is a lot of superb art being made these days.
This column shines light on a trio of gifted individuals.
NICOLAS V. SANCHEZ (b. 1983), Folklorico de Guerrero, 2020, oil on canvas, 10 x 20 feet, private collection
NICOLAS V. SANCHEZ (b. 1983) creates art that reflects his color- subject matter. A recent solo exhibition of charcoal drawings at Sugarlift
ful cultural heritage, diverse urban environment, and eclectic influences in New York City showed the artist taking back the camera lens and put-
and interests. He earned his B.F.A. from Kendall College of Art and ting a painterly perspective on black-and-white imagery.
Design in Grand Rapids, Michigan, and then his M.F.A. from the New An earlier series of highly realistic barnyard animals created with multi-
York Academy of Art in New York City, where he lives now. Not one to colored ballpoint pens was both an unexpected and impressively innovative
stay in a predictable lane, Sanchez explores and experiments beyond take on the fauna genre. The artist recalls, “My dad always had a ballpoint
the borders of traditional realism but will just as quickly return to that pen in his pocket and he taught me to draw at a very young age. Much later
tightly rendered style if a particular subject dictates. in life, my subway commute from my apartment to the Academy was about
Sanchez’s oil paintings jump off both screen and page with swift, lyr- 40 minutes. What to do with that time? I could have played video games, but
ical lines and a surety of skillful brushstrokes. In his mural-sized painting instead I started sketching with my pen in my notebook, doodling and draw-
Folklorico de Guerrero, he boldly expresses years of childhood observa- ing whatever came to mind. And that’s how it started to develop. Eventually
tions and memories while paying homage to the artistry of his mother’s I integrated it into my studio practice.”
seamstress work. “My mom made these beautiful, elaborate, traditional Sanchez remains grateful for the support he has received from others
Mexican ballet folklorico dresses,” the artist explains in a YouTube video over the years. In 2018, he began donating an annual scholarship — along
discussing this 10-x-20-foot piece. “The basement was always flowing with his mentoring — to a Latino/Hispanic art student from every school he
with different colored fabrics and ribbons. There were many nights when attended ($500 for his high school, $1,000 for community college, $1,000
she would stay up working, and I would stay up with her. Sometimes she for undergraduate college, and $5,000 for graduate school). Last year, he
would stop and ask, ‘Qué color?’, holding up two ribbons to choose from. used the creation of the painting illustrated here to raise money for fami-
I’d say, ‘I don’t know … blue.’ The next morning I’d wake up and see that lies along the Mexico/U.S. border in collaboration with the Young Center
blue ribbon sewn beautifully and intricately around the dress. Sometimes and the Refugee and Immigrant Center for Education and Legal Services.
a small memory can lead to a big painting.”
Created in both charcoal and ink, Sanchez’s drawings may also
derive from lasting impressions, or they can be fresh takes on familiar SANCHEZ is self-represented and shows with several galleries.
KATHRYN STEDHAM (b. 1969), Ghost Ranch, Small
Moon, 2020, oil on canvas, 20 x 24 in., private collection
KATHRYN STEDHAM (b. 1969) paints from reality, memory, imag- where the West is still wild and free — to be an explorer of this inef-
ination, and, most important, a place of curiosity and contemplation. fable mystery.”
Like many landscapists, she is fascinated by numerous elements of One of Stedham’s most frequented places for study and on-site
nature — visuals, sounds, and sensory experiences ranging from grand painting is Ghost Ranch, a 21,000-acre retreat and education center in
to subtle. Frequently spending time outdoors and making regular northern New Mexico that encompasses one of Georgia O’Keeffe’s for-
plein air trips to gather ideas and observations, the artist collects an mer homes and studios. Stedham’s painting Ghost Ranch, Small Moon
array of imagery and notes to inspire future paintings. depicts one of her favorite views on the property. “On this particular
Stedham considers her move to the Southwest in 2005 life- occasion, I watched as the moon rose over the scene,” she recalls. “What
changing, as that was when she finally found her calling as a painter began as a large-ish moon shape began to shrink as it went higher in the
and her signature subject matter. The incredible sunsets, structures, sky. This is how I sometimes see myself, amidst this vastness.”
and vistas surrounding her have offered a storehouse of visual mate- Although Stedham was trained in classical realism, her style
rial from which to choose. Now a resident of Santa Fe, she explores her evolved when she experimented with various approaches, including
immediate environs through hiking, painting, and horseback riding abstraction. Finally she arrived at the alla prima style she is known for
while also traveling throughout the Southwest and other parts of the today, which still incorporates earlier influences. Through Stedham
country and world. Atelier in Santa Fe, she teaches that a classical foundation will allow
It is the American West, however, that she is particularly fond of. students to eventually find an individual style. She certainly has
“Forever fascinated with stories about the West and Westward Expan- found her own.
sion, I would happily board a time machine, if there were such a thing,
to experience first-hand this important period in American history
and our connection to the land,” Stedham writes. “I feel an urgency to STEDHAM is represented by Blue Rain Gallery (Santa Fe), where her exhibi-
portray this space . … to excavate the bones of existence in this terrain tion Enduring West will be on view August 27–September 18.
ViewersenteringtheworldofLondon-basedartist HANNAH MURRAY has been making waves by re-examining the timeless, ever-shifting
(b. 1995) come face to face with feminine power. Consider the paint- idea of the iconic goddess Venus: who is she today, and how has she
ing of a lounging couple illustrated here, Hearts of Gold. The woman is developed over time? The artist infuses her scenes with subtle eroti-
poised, her eyes fixed on an unknown point in the distance, while her cism, depicting women going about their daily lives: eating, lounging,
partner rests his head on her hip and stares into space. Seen from behind, standing, even posing at home. She paints carefully, working layer by
a pug dog seems to be observing the couple’s power dynamic from the layer to blend light and shape, starting with the skin, until she achieves
foreground. Beyond their chaise longue we can glimpse a richly pat- the right glow, or that confidently demure expression.
terned wall —possibly hung with a textile — but little else. Murray notes, “I aim to convey feminine power in unexpected
Though the opulent textures, cool hue, and flashes of color are ways, such as with a temperature shift in the shadow outlining the
striking, it is the woman who commands our attention. “I wanted her figure, or exaggerated colors and surfaces. My influences range from
to be ravishing,” Murray explains, “and so I created a dreamlike state Ingres’s lush textures to Matisse’s collaging of patterns. Through illu-
that evokes Venus flying on a cloud or Cleopatra on her throne.” This sionistic spaces and subtly humorous moments, I want to show that the
woman knows she is in control — and indeed such self-confidence is women in my work — who are my friends — are just fine relishing their
apparent in most of the painter’s scenes. own beauty. It’s theirs, not a gift from a man’s gaze.”
This year Murray earned her M.F.A. from the New York Academy — Charles Moore
of Art and won its prestigious Chubb Fellowship; before that transform-
ative experience, she took a B.F.A. at Leeds Beckett University (Eng-
land) and taught art to secondary school students. Recently Murray MURRAY is a member of the collective Contemporary British Portrait Painters.
HANNAH MURRAY (b. 1995), Hearts of Gold, 2020, oil on linen, 38 x 44 in.
BY DAVID MASELLO
T O D A Y ’ S
M A S T E R S
MAKING
TIME WITH
SCULPTOR
DIANA
REUTER-
TWINING
D
iana Reuter-Twining (b. 1951)
has powers unlike most people.
As a sculptor, she has the abil-
ity to alter, if not start and stop,
time. As a trained architect and,
for years now, a prolific practicing sculptor,
she notes, “Architects and sculptors both
have the ability to manipulate time. An archi-
tect can strategically place a stair, window, or
volume to slow down the participant’s expe-
rience, while a sculptor can encourage the
viewer to walk around a piece through ges-
ture, rhythm, scale, and color.”
Mandolin, 2014, fused nylon, copper, and nickel on

aluminum base (edition of 9), 5 1/2 x 32 x 13 in.
After Munnings, 2021, bronze (with color patina) on wooden base (edition of 9),
19 x 26 x 13 in. (BELOW) ALFRED MUNNINGS (1878–1959), Ned
Osborne on Grey Tick, c. 1913, oil on canvas, 20 x 24 in., private
collection, photo courtesy of Sotheby’s, London
Tyto, 2013, bronze on solid steel base (edition of 9),

65 1/2 x 13 x 12 in.
Furthermore, Reuter-Twining understands the fragmentary, itin- near the site of an infamous Civil War battle. “We bought one hundred
erant quality of time — how what occurs suddenly ends just as quickly. acres to live on and subsequently put it into easement, which speaks
So adept is she at capturing the most ephemeral, fleeting moments of to my interest in preserving habitats. That land will be left as open,
life that to look at her trademark bronze horses in motion is to sense the undeveloped. It is our wish that we maintain the habitats that these
flexing of their muscles. A sculpted owl, perched on an orb, is a blink- farms offer to wildlife, as well as explore new methods of organic
of-its-eye away from opening its wings and diving to snatch prey. And a farming and propagator meadows. We are all here for a very short
playful rabbit, akin to those found on carousel rides, appears to be mid- period of time, and what we leave behind we leave behind forever.”
stride, as if the breeze of its passing could be felt. When she was a girl, Reuter-Twining and her family lived in two
Works in Reuter-Twining’s Water series, however, seem to places — Washington during the school year, and what was then her
not only stop time, but also give geometric shape to it. There, set in paternal grandparents’ farm in the summer. “My parents collected
bronze, we see the precise geometry of rippled water in the wake left Andre Harvey’s sculptures, and it was because of this that it occurred
by a mandarin duck skimming a pond surface, while in another work to me that sculpture was a contemporary art form and not simply an
entitled Mandolin, she uses polished nickel to record the overlap- historic reference.” But in the Virginia countryside, she recalls, “Life
ping concentric circles created by two ducks swimming around one assumed a slower pace and we children had to find ways to entertain
another. Some of the phenomena we might see in nature are now cast ourselves. You’d watch the building of a bird’s nest, then see the eggs
in metal, keeping such sights forever memorable. being laid, then watch them hatch.”
Maybe it’s because Reuter-Twining lives on a family farm in Vir- Her father instilled in her a love of, and respect for, nature that
ginia an hour outside her native Washington, D.C., that she has a spe- is now embodied in her finished sculptures. He was not only a sur-
cial appreciation for the unfolding of nature and how animals, in par- geon, but also a much-coveted freelance photographer for National
ticular, occupy the land. “My husband and I purchased what was once Geographic, assignments for which took him to exotic locales, nota-
a cattle farm that has been in my family for 250 years,” she explains. bly in East Africa. “My father focused on birds and I would help him
Their farm, Bull Run, was part of the thousand-acre Glenstone Farm, by holding lights and building blinds to take pictures of them in the
Ko Phi Phi, 2008, bronze on stainless steel base (edition of 100), 6 3/4 x 21 x 5 in.
enlarge something, make it 10 times its actual size, perhaps, to hold

someone’s attention.” While many of her horses are not life-size, they
have the effect of such.
One of her most notable works is Tyto, named for a genus of barn
owl. Reuter-Twining has positioned the finished bronzes, in two sizes,
on towering plinths; one measures nearly 11 feet and the other nearly
six. One of the advantages of her metal sculptures is that they are
meant to be placed outdoors, and a successful strategy for doing so is
to make them monumental in scale and feel. Tyto resulted from Reuter-
Maestro, 2014, bronze on bronze base (edition of 9), 26 x 20 x 7 in. Twining’s having taken hundreds of photos of an owl she encountered
one day while attending the Artists for Conservation’s annual exhibi-
tion in Vancouver. Later she focused on a particular moment that shows
trees, both here on the farm and when we traveled together in the the owl stretching. “I captured his grace, agility, and strength all in one
1960s.” pose,” she emphasizes. “Owls represent for me a recurring theme of
Reuter-Twining and her husband share a love of the natural world. mystery. They dwell between darkness and light.”
Prior to her meeting Ned Twining in 1991, he served on the board of Another figure that assumes that of a still-living creature is a
governors of the Wilderness Society. Soon they embarked on a five-year horse that Sir Alfred Munnings (1878–1959) first depicted in his paint-
mission with South African National Parks to teach that country’s pre- ing Ned Osborne on Grey Tick (c. 1913). So taken was Reuter-Twining
viously disadvantaged citizens to “become stewards of their own com- with this image of a groom exercising his horse that she created After
munity lands.” She says, “Our goal was to train them to become park Munnings. It renders the animal in bronze — appearing, at once, flexed
rangers. When I met Ned, he reinforced all that I had been taught as and in extended trot, both running and halted, the flanks registering
a child. And then, as I developed as a sculptor, I realized I could be an its extraordinary musculature and the tail unfurling with the speed
even more effective steward of nature through my art.” at which it moves.
Her Maestro, however, is a more sedate horse, in the midst of
A FARM LIFE dressage, a highly choreographed discipline in which horse and
Reuter-Twining’s daily “commute” involves going from a circa-1800 rider appear to be in a kind of symbiosis. “Dressage requires extreme
house on her property (which she restored fully by utilizing her archi- strength, grace, balance, and will,” Reuter-Twining notes. It was
tectural training) to a barn that serves as her working studio and a while studying such a horse that she discerned something that Leon-
space for displaying finished works that are for sale. “So much of being ardo exploited in his illustrations for The Divine Proportion, the so-
an artist,” she says, “is about storage, for materials and for finished called Golden Ratio. She went on to depict a horse astride a plinth in
works. There are the sheer logistics of sculpture — about having materi- which she has excised, in its base, the lines and circles that articulate
als ready and, in my case, having armatures ready on which I can build.” the (Golden) ratio. “I chose to pay homage to this in my sculpture.”
There’s also the factor of sculpture being a messy medium. Reuter- Maestro is named for a close friend’s horse, a specimen so dignified
Twining’s bronze and polished aluminum sculptures begin exclu- and well built that it served as her model.
sively with oil-based clay, as opposed to water-based versions. Since Reuter-Twining can work on a more diminutive scale, too, fash-
oil-based clays never fully harden, one could, theoretically, work them ioning jewelry that incorporates other natural motifs, including a
for years. “Because of my strong tactile sense and approach, I am fas- honeycomb, grasshoppers, and a fox whose eyes are lit with green
cinated by form and volume and texture and pattern and composition. jewels. Her objets d’art include a frog perched on a bowl, a vase featur-
I really like drawing in 3D, which is what sculpture is.” ing a locust motif, and doorknockers that replicate pears and rabbits.
Reuter-Twining possesses an uncanny ability to engage people
right away with her works, a dynamic not unlike a novelist grabbing ROUTINE MATTERS
the attention of a reader with the first sentence. “Once I have an idea, Reuter-Twining is a rigorously disciplined artist who, prior to work-
I go whole hog on getting it done,” she explains, “gathering informa- ing in her studio, begins each day by walking her dog. “An hour-long
tion: what is the big idea of the piece, what do I want it to say, and how walk with Cooper, my English springer spaniel, clears my mind,” she
do I say it effectively? If you don’t capture someone’s attention quickly, says. “I always try to work in the morning, when my mind is fresh.
the piece isn’t successful.” After lunch, I come back to the studio to do desk work. When I see a
People linger over Reuter-Twining’s pieces not only because piece in progress after having been away from it for a while, I can see
her animals and creatures appear so lifelike and animated, but also immediately what’s wrong. When working too closely on something,
because of the scale in which they are rendered. “Sculpture, unlike you tend to concentrate only on the small details and don’t see the big-
painting,” she observes, “can approximate a human scale. I can ger version in front of you.”
(South Carolina), the National Sporting
Library and Museum (Virginia), Western
Kentucky University, Bryn Mawr College,
and Loudoun County Parks (Virginia).
LARGER CONTEXTS
Reuter-Twining says her eye was formed
powerfully by the grandeur of vision that
characterizes Washington, D.C. She has
always found inspiration in such great
sculptures as Rudolph Evans’s Thomas Jef-
ferson inside the Jefferson Memorial and
Daniel Chester French’s Seated Lincoln
at the Lincoln Memorial, and she fondly
recalls her once-daily drives across the
Memorial Bridge, which is framed by Leo
Friedlander’s Arts of War (Valor and Sacri-
fice) and by James Earle Fraser’s Music and
Harvest.
Given this perspective, it makes sense
Carousel Rabbits, 2018, bronze on powder-coated steel that Reuter-Twining has strong opinions
base (edition of 3), 72 x 61 x 27 in. (BELOW) Honey on abstraction, particularly in sculpture.
Comb, 2009, bronze on stainless steel base (edition of 9), “I can honestly say that I have a problem
60 x 70 x 16 in. with a lot of it,” she confides of the kind
of monumental abstractions that populate
many sculpture parks and office plazas. “It
lacks discipline and it lacks craftsmanship.
I get annoyed because I think most of those
works are about shock value.”
As for architectural “isms”, Reuter-
Twining is equally outspoken. She embraces
what many in academia might consider a
controversial view — she likes postmodern
architecture, that style that emerged in the
1970s and ’80s in reaction to the earlier rigors
of modernism, including brutalism. “Thank
God for it,” she laughs. “Postmodernism is
drawn from historical references,” and she
counts such talents as Charles Moore, Aldo
Rossi, and Robert Venturi among its best
practitioners. During the 1950s and ’60s, art
Cooper remains with Reuter-Twining while she works in the stu- and architecture schools routinely taught only modernist ideals, ignor-
dio and listens to classical music or books on tape. She rarely works in ing historical precedents. “In the ’60s, architectural education was in
silence. “I recently listened to Hamnet, Maggie O’Farrell’s novel about free fall. We need to draw from the past. A lot of abstraction of the era is
Shakespeare’s son, and Beloved by Toni Morrison, two books that rep- the result of artists having, basically, no formal art education.” She cites
resented to me the most incredible writing.” She insists, too, on work- some abstraction that moves her, however, including sensuously curved
ing alone. “I love the fact that I have, literally and figuratively, a space works by Henry Moore and Georgia O’Keeffe.
to occupy that nobody will interrupt. I have total control that way. You Reuter-Twining is very aware not only of her art and its place in
have to be alone, or want to be alone, to be an artist.” the sculptural canon, but also of women’s place in the art world gener-
And like a true artist, Reuter-Twining feels that she has no choice ally. She points out that female artists comprise, at most, 3 to 5 percent
but to be one. “I have a drive to create. It started as a little girl when I of the permanent holdings of museums in the U.S. “My career changed
had a darkroom and my own camera and the ability to develop the shots dramatically when I became a member of American Women Artists,”
on my own.” At 19, she went to Paris and earned a degree in art history she says, referencing her role there as president from 2017 to 2020. “It
through Hollins University. Later, she enrolled at the Catholic Univer- was through this organization that I found my own voice. AWA’s com-
sity of America in her hometown, where she earned a master’s degree mitment to the core mission of inspiring, encouraging, and celebrating
in architecture. “I always wanted to be an architect, but I grew up in women in the visual fine arts was there when I was ready. I feel very
an age when there were not many women in the field. I graduated at 30 strongly about getting the work of women artists into the permanent
and became a practicing architect. That was my way to fulfill my drive collections of accredited museums throughout the United States.”
to create. If I’m not creating every day, I feel out of balance.” Given her oeuvre, her large following, and the sheer durability
Reuter-Twining shifted to fine art when her husband encouraged of her works, Reuter-Twining is already changing the very agenda of
her to produce a sculpture she had designed. Soon she enrolled in the contemporary sculpture and the role women occupy in that medium.
Corcoran School of Art, then at Colorado’s Loveland Academy of Art In keeping with one of her aesthetic priorities, it’s about time.
and Arizona’s Scottsdale Artists’ School. At these institutions she was
able to refine her skills in painting and sculpture during workshops
with such masters as Greg Beecham, Matt Smith, Richard Greeves, DAVID MASELLO is executive editor of Milieu magazine and author of the book
Michael Coleman, Eugene Daub, and David Turner. Today her works Collaborations: Ferguson & Shamamian Architects, to be published by Rizzoli this
can be found in the permanent collections of Brookgreen Gardens October.
BY M AT T H I A S A N D E R S O N
T O D A Y ’ S
M A S T E R S
BLOOMS
FOR USALL
ow that America’s pandemic-related fog seems to be lifting, the editorial team at Fine Art Con- PHILIP COURTNEY (b. 1953),
noisseur opted to delight readers’ beauty-starved eyes with an array of superb contemporary Magnolia Seed Pod, 2020, oil
artworks celebrating flowers, flowering foliage, and gardens. It never ceases to amaze us how on canvas, 22 x 54 in., available
each artist comes at what is essentially the same subject from a completely different viewpoint. through the artist
Such individuality is just one of the things that makes the field of art so endlessly intriguing, just
as flowers are among nature’s most welcome gifts.
MATTHIAS ANDERSON is a contributing writer to Fine Art Connoisseur.
OLGA ABRAMOVA (b. 1976), Rustle, 2021, pastel and
acrylic on paper, 35 1/2 x 35 1/2 in., private collection
(TOP) JOHN BOWEN (b. 1941), Window Box, 2020, watercolor on paper, 14 x 28 in., available through the artist
(ABOVE LEFT) KIM CASEBEER (b. 1970), Monet’s Garden, 2018, oil on linen, 10 x 8 in., Brandon Jacobs
Gallery, Kansas City (LEFT) VICTORIA HERRERA (b. 1964), Metamorphosis, 2015, oil on linen, 50 x 54
in., private collection (ABOVE) JEAN EMMONS (b. 1953), Dahlia “Rip City,” 2014, watercolor on vellum,
12 x 12 in., collection of Shirley Sherwood
(CLOCKWISE FROM ABOVE) AMANDA GREIVE (b. 1978), Shroud, 2020, oil on wood panel,
14 x 18 in., private collection DYANA HESSON (b. 1966), Morning Light (Green Flowered
Macromeria, X Diamond Ranch, Arizona), 2021, oil on canvas, 16 x 20 in., Bonner David Galleries
(Scottsdale and New York City) PAULA B. HOLTZCLAW (b. 1955), Arrangement in Blue, 2020,
oil on linen panel, 20 x 20 in., available through the artist JANE JONES (b. 1953), Broken, 2020,
oil on canvas, 26 x 64 in., Bonner David Galleries (Scottsdale and New York City)
(TOP ROW L-R) INGRID CHRISTENSEN (b. 1964), Peonies and Green, 2021, oil on canvas board, 14 x 11 in., Vanessa Rothe Fine Art, Laguna Beach LAUREL LAKE MCGUIRE
(b. 1962), Persuasion, 2018, watercolor on paper, 24 x 18 in., private collection (BOTTOM ROW L-R) KAMI MENDLIK (b. 1973), Greener Pastures, 2020, oil on linen panel,
24 x 24 in., private collection SHANA LEVENSON (b. 1981), A Moment, 2021, oil on panel, 28 x 30 in., private collection CHRISTINE MERCER-VERNON (b. 1970), Caught in
the Moment, 2020, oil on panel, 8 x 8 in., available through the artist
(CLOCKWISE FROM TOP LEFT) MICHAEL LYNN ADAMS (b. 1949), Pink Rose, 2017, oil on
panel, 12 x 9 in., Lily Pad Gallery West, Milwaukee KIM VANDERHOEK (b. 1971), Seeing
Red, 2021, oil on panel, 6 x 6 in., private collection LILIYA MUGLIA (b. 1961), Promise,
2021, oil on panel, 20 x 16 in., available through the artist DENISE WILLING-BOOHER
(b. 1960), Michael’s Garden, 2016, watercolor on paper, 30 x 25 in., private collection
(CLOCKWISE FROM TOP LEFT) KURT ANDERSON (b. 1958), Sunflowers II, 2019, oil
on canvas, 24 x 24 in., private collection SERGEY PIETILÄ (b. 1964), Sculpture
in the Garden, 2021, soft pastel on paper, 29 x 31 in., on view through July 19 in the
International Association of Pastel Societies’ Juried Gallery Exhibition, Zhou B Art
Center, Chicago KATIE MUSOLFF (b. 1982), Plotting Their Next Move, 2020,
watercolor and gouache on paper, 15 x 10 in., Racine Art Museum, Wisconsin
JUDE TOLAR (b. 1953), Sun Glowing Irises, 2020, pastel on paper, 11 x 14 in., available
through the artist SASKIA OZOLS (b. 1973), Winter Garden II: White Sasanquas in a
Netherlandish Cup, 2020, oil on panel, 5 x 7 in., available through the artist
(TOP ROW) DONNA MISKEND (b. 1961), Artichoke (Cynara scolymus), 2020, watercolor
on paper, 10 x 8 in., available through the artist CHANTEL LYNN BARBER (b. 1970),
Glow, 2021, acrylic on panel, 10 x 8 in., available through the artist JEANNE REINER
(b. 1962), Oakleaf Hydrangea, 2019, colored pencil on film, 14 x 17 in., collection of
the artist (MIDDLE ROW) CONNIE LYNN REILLY (b. 1951), Peony, 2019, oil on wood,
24 x 24 in., private collection LISA FICARELLI-HALPERN (b. 1959), Peonia, 2018,
oil on canvas, 26 x 20 in., 33 Contemporary Gallery via Artsy (LEFT) JULIE RIKER
(b. 1969), Sparkling Hydrangeas, 2020, oil on linen, 12 x 9 in., available through the artist
(CLOCKWISE FROM TOP LEFT) BETH CLARY SCHWIER
(b. 1961), United State of Roses, 2020, acrylic on canvas,
48 x 60 in., available through the artist FRANCES SMOKOWSKI
(b. 1962), Reach, 2001, graphite and Prismacolor on paper (in a
French mat made by the artist with acrylic on museum board),
6 x 4 in., available through the artist SUSIEHYER (b. 1954),
Field and Flower, 2013, oil on linen, 24 x 18 in., private collection
MARCIA HOLMES (b. 1954), Violet Swings the River, 2021,
oil on linen canvas, 35 x 48 in., Degas Gallery, New Orleans
SARAH SEDWICK (b. 1979), Chaenomeles, 2020, oil on canvas,
24 x 18 in., private collection
(CLOCKWISE FROM LEFT) ALEXANDRA
MANUKYAN (b. 1963), Ladakh Maiden,
2018, oil on linen, 20 x 16 in., private
collection PETER SWIFT (b. 1945),
Nodding Thistle, 2018, acrylic on
canvas, 48 x 48 in., collection of the
artist CAROL STROCK WASSON
(b. 1957), Wildflowers at Craddock
Nature Preserve, 2020, pastel on paper,
18 x 14 in., private collection CECY
TURNER (b. 1947), A Bit of Sunshine,
2021, watercolor on paper, 11 x 15 in.,
private collection ALESSANDRO
TOMASSETTI (b. 1970), Animal Lover 2,
2017, oil on aluminum, 14 x 11 in., private
collection
T O D A Y ’ S
M A S T E R S
A GARDEN
GROWS ON
28TH STREET
B
y coincidence, two shows of fresh art depicting flowers and Kuvin, and then Robin A. Jess describes the Carter Burden project, which
other plant life will open on July 1 in Manhattan’s un-garden- she has guided to fruition in her role as coordinator of NYBG’s Botanical
like Chelsea gallery district. Located at 508 West 28th Street, Art and Illustration Certificate Program. (She previously served as exec-
Sugarlift will open Flora Nova: Painting Nature Now at the utive director of the American Society of Botanical Artists.)
same hour that Carter Burden Gallery (548 West 28th Street) The organizers look forward to seeing you in your gardening clothes
is unveiling Contemporary Works by The New York Botanical Garden’s on 28th Street this July.
Botanical Art and Illustration Certificate Program.
Here Fine Art Connoisseur editor-in-chief Peter Trippi introduces
Flora Nova, which he co-curated with Sugarlift’s Wright Harvey and Sylvie Information: sugarlift.com, carterburdennetwork.org/carterburdengallery
ALEX MERRITT (b. 1981), Silent Morning,

2020, oil on canvas, 78 x 96 in.
Sugarlift
Sugarlift’s Flora Nova: Painting Nature Now features recent work by five Each of these artists is immersed in a deep, ongoing dialogue
gifted artists who each regard the natural world in a unique and com- with nature, yet their aesthetic and technical approaches are noth-
pelling way: Rose Frantzen, Lara Call Gastinger, Sarah Margaret Gibson, ing alike. Their individuality reminds us that flowers and other
Alex Merritt, and Katie Whipple. Together their contributions will offer foliage are so diverse in appearance and meaning that we humans
a thrilling snapshot of the possibilities being explored by artists who could — and surely will — go on forever trying to capture and pro-
not only see but feel their fertile subject matter. On view are ravishing cess them.
beauty and the wondrous intricacy of botanical forms, but also glimpses Timeless as their effort may be, we can no longer gaze at such
of the inevitability of decay and of nature’s propensity for enchantment, art without recalling that climate change triggered by mankind’s
mystery, even danger. carelessness is causing many species of flora to disappear. All the
ROSE FRANTZEN (b. 1965), Thistle Series, 2015,

oil on 28 panels, 8 x 8 feet overall
SARAH MARGARET GIBSON (b. 1988), Floral Composition with Birds, in the Dutch
Manner, 2020, oil on linen, 35 7/8 x 28 in.
Traditional botanical painting blends science and art, requiring prac-

titioners to understand plants’ complex anatomy and communicate this
knowledge on a white ground that minimizes distractions. As chief illus-
trator for the Flora of Virginia Project and a two-time gold medalist at the
Royal Horticultural Society (London), Lara Call Gastinger has become a
master at capturing details, yet she also transcends her discipline’s con-
ventions in order to create “portraits” that reveal plants’ true character. On
view are works reflecting her fascination with decay and the never-before-
exhibited watercolor sheet (measuring 30 x 22 inches) to which she added
a different plant every day throughout the COVID-19 pandemic.
Born in Cincinnati and now heading an atelier in Glasgow, Scot-
land, Sarah Margaret Gibson captures the personality and life force of
her floral subjects by using Old Master techniques in a modern way. She
believes that light and its symbolic qualities are at their most poetic when
contrasted against the dark, and the resulting drama is amplified with
KATIE WHIPPLE (b. 1991), Angels for Giotto, 2021, oil on panel, 48 x 24 in. varying textures such as heavy impastos alongside thin passages. Flora
Nova offers a classic example of this approach — a large vase of flow-
ers (37 x 30 inches) vibrating with birds — and juxtaposes it with a new
more reason, then, for us to marvel at those that remain, and to do group of spare — yet somehow totemic — oil studies of tulips.
all we can to pass along their visual and emotional power to future Flora Nova will present a large oil painting by Alex Merritt, whose
generations. powerful expressiveness is enhanced by his customary build-up of hun-
Based in Maquoketa, Iowa, Rose Frantzen is a painter of allegories dreds of paint layers — sometimes measuring four inches deep. Silent
who seeks to immerse viewers completely. It is telling that she often Morning is a reflection on the transitory nature of existence made visible
mounts her exhibitions and installations in a space called the Maquoketa in the world constantly changing around us. Merritt started this painting
Art Experience, where visitors are enticed to stop, think, and look again. while observing the rapid decline in a loved one’s health, yet it morphed
Never shown in New York before is her ethereal Thistle series, a private into something more universal — the hope we feel as a long winter gives
commission of 28 panels depicting both nature and people, completed in way to spring.
2015 and measuring 8 by 8 feet. Frantzen is also exhibiting a new easel- Born in Indiana, Katie Whipple was on course to become a figure
sized painting of peonies. painter when she was stopped in her tracks at a Roman museum by
Carter Burden
Gallery
Botanical art has been popular with the public, collectors, and plant growers for ages. Intended
to help readers treat a specific malady, “herbals” were early books that contained drawings and
woodcuts of health-giving plants. During the Age of Exploration, artists documented new finds
and horticulturists published catalogues to promote the sale of exotic flora to the elite who could
afford to raise such treasures. Artists such as Pierre Joseph Redouté and Barbara Regina Dietzsch
were commissioned by royalty to create “florilegia,” collections of paintings documenting their
floral assets. Today botanical illustrators work with botanists around the world to illuminate
their publications.
The resurgence of botanical art in the past 40 years owes much to the Hunt Institute of
Botanical Documentation (Pittsburgh) and to the British writer and botanist Dr. Shirley
Sherwood (b. 1933). Together their collections, publications, and exhibitions have drawn atten-
tion to the outstanding skill of many living artists. (The Hunt Institute opened at Carnegie Mellon
University in 1961 and the Shirley Sherwood Gallery of Botanical Art was inaugurated at London’s
Kew Gardens in 2008.)
Botanical art is thriving at The New York Botanical Garden (NYBG), too. Artists seeking
to learn time-honored techniques that combine scientific accuracy and beauty can enroll in its
Botanical Art and Illustration Certificate Program, which launched in the early 1980s and is cur-
rently taught online by a faculty of master practitioners.
NYBG Senior Director of Adult Education Lisa Whitmer notes: “Over the past three
years, we have seen 25 percent growth in the number of people studying botanical art with
us. I believe that people are drawn to how this art form asks them to slow down and pay close
attention to nature.” (The word “slow” is apt, as an artist typically devotes at least 40 hours
to creating one piece.) NYBG Vice President for Education Barbara Corcoran adds that the
Garden also “demonstrates its support of this genre by providing offices for the international
headquarters of the American Society of Botanical Artists (ASBA), with which it co-sponsors
an international Triennial Exhibition.”
CAROL WOODIN (b. 1956), Yellow Lady’s

Slipper (Cypripedium parviflorum
var. parviflorum), 2018, watercolor on
vellum over panel, 16 x 16 1/2 in.
LARA CALL GASTINGER (b. 1976), Large Leaf Magnolia,
2019, watercolor on paper, 26 x 18 in.
the ancient wall painting of a garden from the

Villa of Livia. She immediately began paint-
ing flowers, and rejects their classification as
“still” life, proposing instead that flowers have
a living spirit that demands to be captured.
Based on Long Island, Whipple is exhibiting
new paintings that hover between realist and
abstract: her blooms are so life-like we could
touch them, yet arranged in strongly graphic
patterns that betray a modern design sense.
WENDY HOLLENDER (b. 1954), Amaryllis
(Hippeastrum sp.), 2021, colored pencil
and watercolor on paper, 16 x 12 in.
(CLOCKWISE FROM TOP) TAMMY S. MCENTEE (b. 1958), Season’s End (Cucurbita
pepo), 2017, colored pencil and graphite on paper, 18 x 25 in. ANASTASIA TRAINA
(b. 1960), The Duet (Glass Gem Heritage Corn / Zea mays var. indurata), 2021, watercolor
and colored pencil on paper, 30 x 23 in. SUSAN SAPANARA (b. 1958), Stewartia’s
Seasons (Stewartia monadelpha), 2017, watercolor on paper, 14 x 20 in. DICK RAUH
(b. 1924), Bladderpod (Sesbania vesicaria), 2017, watercolor on paper, 20 x 28 in.
This month a selection of 17 works by 14 NYBG instructors and grad-

uates is on view at Manhattan’s Carter Burden Gallery, which champions
the creativity of older, lesser-known artists, especially New York City
residents older than 60. The show’s concept was originally suggested to
both partners by Pata Llano of the art materials supplier Dick Blick, Inc.
Among the master artists represented in this month’s exhibition is Also participating in the exhibition are artists Elizabeth Fusco, Jean
Carol Woodin, who works in watercolor on vellum, a prepared skin that Galle, Gaye Grossman, Ann Hoffenberg, Rose Marie James, Robin A. Jess,
has imparted a rich glow to her Yellow Lady’s Slipper. (She and Robin A. Corinne Lapin-Cohen, Tammy S. McEntee, Lois Perlman, Susan Sap-
Jess recently co-edited the award-winning book Botanical Art Techniques anara, and Anastasia Traina.
on behalf of ASBA.) Botanist Dr. Dick Rauh is renowned for his large Contemporary botanical artists are intensely aware of the challenges
watercolors of small subjects such as Bladderpod, in which he blows up to flora occurring globally and therefore desire to make others aware of
a two-inch pod to 15 inches, reflecting his penchant for detail and devo- the crucial relationship between people and plants. While staying true to
tion to close observation. Rauh’s book The Science Behind Flowers teaches the tenets of scientific accuracy and concepts of fine art, they explore their
plant morphology to botanical artists and plant enthusiasts alike. Rep- subject in a very personal way, spending hours studying the plant, mulling
resented by the Amaryllis illustrated here, Wendy Hollender works in over how, when, and where it grows, what struggles it has, and its pollina-
colored pencil mixed with watercolor and has published four books on tors. The resulting work is often a sonnet of love to the unsuspecting sub-
the subject, including The Joy of Botanical Drawing. Her direct approach ject. These plants go on with their life’s goal of reproducing, improving, and
to exploring the intricacies of the plant world is encapsulated in the dis- continuing their line, oblivious to the artists who are so intrigued by them
sections she often includes. and eager to share their beauty and significance with the world at large.
B Y K E L LY C O M P T O N
T O D A Y ’ S
M A S T E R S
THE NATIONAL
SCULPTURE
SOCIETY EXCELS
YETAGAIN
I
t’s summertime, which means
that more Americans are spend-
ing time outdoors. Chances are
the art lovers among us are stop- JACQUELYN GIUFFRÉ
ping to admire the sculptures that (b. 1948), Edward, 2020,
adorn our parks, plazas, and other pub- cast bronze on bronze
lic spaces. Many of them were created base (edition of 10),
by members of the National Sculpture 6 1/4 x 9 x 5 in.
Society, which was founded in New York
City in 1893 by a group of America’s most
prominent sculptors and architects,
including Daniel Chester French, Rich-
ard Morris Hunt, Augustus St. Gaudens,
Stanford White, and John Quincy Adams
Ward, in order to “spread the knowledge
of good sculpture.”
Today, NSS members are classi-
fied as Fellows (currently 105 in num-
ber), Sculptor Members (117), or Associ-
ates (750). There is also a large group of
Supporting Members who encompass
Patrons, Sponsors, and Allied Profession-
als. When there’s not a pandemic raging,
these members convene annually for a
convivial Sculpture Celebration Weekend
held in different parts of the country. This year’s NSS exhibition features the work of 55 artists, selected
Surely the NSS activity most familiar to the public is its Annual from 428 images that were submitted by 192 Fellows, Sculptor Mem-
Awards Exhibition, the 88th edition of which is now on view through bers, and Associates. The selection jury comprised NSS Fellow Debbie
August 22 at Brookgreen Gardens, a 90-minute drive north of Charles- Engle, sculptor Michael Evert, and Melissa Ralston-Jones, who curates
ton, South Carolina. Founded in 1931 by the collector-philanthropist the gallery at Western Connecticut State University. Illustrated here
Archer M. Huntington and his talented sculptor wife, Anna Hyatt, are 10 works that will appear in the show, which will be installed across
Brookgreen holds the most extensive collection of figurative sculpture more than 3,200 square feet within Brookgreen’s impressive new
by American artists in any outdoor setting. Brenda and Dick Rosen Galleries.
(CLOCKWISE) TIMOTHY HOOTON (b. 1961), Painter, 2020, cast iron, steel, and milk paint
(edition of 5), 23 1/2 x 15 3/4 x 6 1/2 in. SCOTT JOHNSON (b. 1952), Passchendaele (detail), 2021,
bonded bronze (edition of 3), 35 1/2 x 54 x 36 in. WALTER T. MATIA (b. 1953), Trouble Ahead,
Trouble Behind, 2019, bronze, 54 x 39 x 7 in. GARY LEE PRICE (b. 1955), Great Contributors:
Harriet Tubman, 2020, bronze (edition of 40), 19 x 70 x 32 in. OCEANA RAIN STUART
(b. 1969), The Woman from the Mountain, 2019, cast bronze (edition of 18), 22 x 7 x 6 in.
(ABOVE L-R) EVA-MARIA WOHN (b. 1955), Redemption Pending, 2019, bronze (edition of 9), 15 1/2 x
6 x 8 in. BASIL WATSON (b. 1958), Portrait of Congressman John Lewis, 2020, bronze (edition of 8),
17 1/2 x 8 x 10 in. SUSAN WAKEEN (b. 1955), Carla, 2015, patinated resin (edition of 12), 21 x 13 x 8 1/2 in.
(RIGHT) ELLEN TYKESON (b. 1955), Jump!, 2018, bronze and fiddleback maple (edition of 37),
21 x 10 x 8 in.
All of the selected works will appear in the accompanying catalogue and most
will be available for sale via the administrative staff at Brookgreen. In addition, all
will be eligible for the more than $20,000 in cash awards presented by a separate jury
consisting of NSS Sculptor Member Heidi Wastweet, sculptor Angela Cunningham,
and Charleston gallery owner Mary Martin. Finally, a People’s Choice Award will be
announced at the show’s closing reception on August 21.
Seventeen of these works will next be shown in the Award Winners Exhibition
held at NSS’s headquarters in midtown Manhattan from October 4 to December 10.
Supervised by executive director Gwen Pier, this headquarters is located at 6 East 39th
Street (Suite 903), close to Grand Central Terminal and the main branch of the New
York Public Library. In addition to a handsome light-filled gallery, it is home to a library
containing rare photographs, documents, articles, and books related to American
sculpture.
Readers lucky enough to visit either showing of the 88th Annual Awards Exhibition
are surely in for a three-dimensional treat.
Information: nationalsculpture.org, brookgreen.org. In addition to the 10 works illustrated here,

the exhibition includes the magnificent head by Erik Ebeling detailed on the cover of this magazine.
For a full captioned photo of it, please see page 12.
KELLY COMPTON is a contributing writer to Fine Art Connoisseur.
BY MAX GILLIES
T O D A Y ’ S
M A S T E R S
MARINEART
GOES GLOBAL
Y
ou don’t need to be a sailor to
enjoy marine art, and now art
lovers everywhere are invited to
admire superb and diverse exam-
ples of this flourishing genre that
were created in five different countries. This
June witnessed the launch of the First Inter-
national Online Marine Art Exhibition, organ-
ized by the American Society of Marine Artists
(ASMA) with its counterparts in Australia,
Canada, France, and the United Kingdom. On
virtual view now through June 30, 2022 are
168 paintings, sculptures, and works on paper,
made by members of these nonprofit groups
and juried into the show by each society.
Although it dates back to the Egyptians and
Greeks, marine art as we know it arose in the
Netherlands during the 17th century, matured
further in 18th-century England, and then
reached the U.S. early in the 19th century. Given
the prominent role they have played in American
art, it is somewhat surprising that marine artists
did not have their own national association until
1978. This occurred thanks to the convergence
of a small group seeking to preserve ships and
maritime heritage, another small group of pro-
fessional artists who loved the sea and ships, and
the general groundswell of patriotism that arose
during the Bicentennial celebrations of 1976.
The founders of ASMA set out to advance
public appreciation of contemporary American
marine art, both as it is practiced today and in
terms of the crucial role it has played in our
country’s heritage. The group now has 500
members nationwide who promote marine art
in various ways, principally through national
and regional museum touring exhibitions; cata- KAREN BLOOMFIELD F/ASMA (b. 1969), Scale, 2015, oil on canvas, 40 x 40 in. “The relationship between humans and
logues accompanying these exhibitions; work- the giant metal behemoths they control fascinates me. Compared to the ship, the human is tiny; compared to the oceans
shops led by Fellows; scholarships presented to they traverse, those same ships are minuscule. I believe that mariners are a breed born — not made. This painting was
young artists; and the quarterly ASMA News referenced during a visit to the DP World container port at Botany, New South Wales. What impressed me most was the
and Journal, which is collected by the Library enjoyment the dock and crane workers clearly shared for their livelihoods. Big toys for big boys!”
of Congress and Metropolitan Museum of Art.
PETER EGELI FE/ASMA (b. 1934), Oystering in the 1950s, 1986, oil on linen, 35 x 66 in. “Skipjacks, bugeyes, schooners, and sloops dredging for oysters were a common sight on
winter days on the Chesapeake Bay until recent decades. The bay was so fruitful that large schooners from Delaware and New York would also work its oyster beds.”
A total of 71 ASMA members were juried into the online exhibition. older than the American group is the Peintres Officiels de la Marine
By coincidence, members of the Australian Society of Marine Artists (POM), whose members are chosen not through election by their peers
use the acronym “ASMA” after their names; this society was founded in but appointment by the Minister of the French Armed Forces; 26 POM
1996 in emulation of its U.S. cousin, and 33 Aussies are participating in members are participating online. And perhaps not surprisingly, the
the online show. Ten members of the Canadian Society of Marine Art- oldest group in this sector is Britain’s Royal Society of Marine Artists
ists (CSMA) are involved; their group was founded in 1983. Three years (RSMA), which was established in 1939 and has contributed 28 works.
WILLIAM MULLER FE/ASMA (b. 1937),

Albany 1900, 1988, oil on canvas,
24 x 36 in. “Here the steamer Albany
makes a morning departure from her
namesake city, at the start of her day’s run
south to Manhattan on a June morning in
1900. She is about to pass through the
opened Broadway swing bridge. The newly
constructed State Capitol sits atop the hill
and the big night boat Adirondack lays at
her wharf, in the far right background, after
arriving from New York City earlier in the
morning.”
KENT ULLBERG F/ASMA (b. 1945), Interdependency, 2012, bronze, 33 x 18 x 11 in. “As an
art student, I became fascinated with the famous Italian Renaissance painting by Arcimboldo,
Vertumnus. It is a portrait of Emperor Rudolf II created from all forms of vegetables and
fruits. In my sculpture I use the same approach to celebrate the interdependency of marine
life in an ecosystem along the Texas coast. Forty-six different species, from microscopic
plankton to mammals, come together to create the sculpture of a tarpon (a species itself
dependent on several ecosystems). This is also a symbol for interdependency in all nature, in
which we humans play a major part.”
The exhibition has been documented for posterity with a hand-

some color catalogue designed by ASMA. In it, Society president Nico-
las Fox writes, “The unofficial motto of our Society is ‘learn, grow,
share.’ Visionaries among us, like Charles Raskob Robinson, Fellow of
our society and polestar [and contributing writer to Fine Art Connois-
seur], are committed to building bridges and strengthening ties. This
exhibition was his idea, and with it we are building new networks of
understanding, shared rubrics of seeing, that will help us navigate an
uncertain future.”
We could not have said it better, and in the photo captions here,
we have asked the artists to tell us a bit about the work they submitted.
Enjoy, and see you online.
Information: InternationalMarineArt.com, AmericanSocietyofMarineArtists.

com, MarineArtistsAustralia.com.au, UltraMarine.ca, Peintres-Officiels-de-la-
Marine.com, rsma-web.co.uk. ASMA members are tiered to reflect their seniority
and experience: Fellows (abbreviated as F/ASMA), Fellows Emeritus (FE/
ASMA), Artist members (ASMA), and regular members (a category that encom-
passes anyone interested in this field). The foreign societies have similar tiers of
membership.
MAX GILLIES is a contributing writer to Fine Art Connoisseur.
PETER WILEMAN RSMA (b. 1946), Beyond the

Wind, 2016, oil on canvas, 20 x 24 in. “My style
is bold and vigorous, both in the use of color and
handling of paint, as I explore the effect of light on
my subject. Seeking atmosphere through light and
color, I work in varying degrees of abstraction.”
CHRISTOPHER BLOSSOM F/ASMA (b. 1956), Schooner “Monitor” off Eastern Point, 2007, oil on linen, 22 x 36 in. “Here the Schooner Monitor shoulders the swell aside as she
reaches along with the rhythmic heave and rush of the sea. It’s morning as several men on deck overhaul some of their gear. Perhaps the others are grabbing a bite to eat below after a
long night. With a full load and a fair wind, they made good time the past few days, but it’s always too long when homeward bound. Off the starboard bow is Eastern Point. With this breeze
it won’t take long to be clear, and from there the harbor opens before them and it’s only a short run up to Gloucester [Massachusetts] and home.”
JUNE CAREY FE/ASMA (b. 1954), Mendocino – MacKerricher State Park, 2007, oil on linen, 24 x 48 in. “This site in California was a favorite place of my late husband and ASMA
Fellow, Dave Thimgan, to photograph great wave action for his paintings while he was researching the lumber trade that once took place in and around this location. Through the mist in
the distance on the right is a bridge that was part of an old lumber road. Dave is standing on it while surveying the area with his telephoto lens.”
CHRISTIANE ROSSET-BEAUDESSON POM (b. 1937), The Sea, 2016, oil on canvas, STEFAN STARENKYJ CSMA (1946–2021), Reflections 5, 2019, oil on canvas, 36 x 30 in.
64 x 51 in. “The sea inspires me, it breathes me in: I have a need to admire and listen “This yacht at dockside in the local marina creates interesting patterns.” (Fine Art
to it. It’s so alive, never the same twice from morning to night. I have a living, permanent Connoisseur sends its condolences to the artist’s family upon his passing earlier this
desire to observe it and memorize all of its moods, be it calm, agitated, or angry. It is the year. We understand that Mr. Starenkyj was a driving force in involving the CSMA in the
reflection, the mirror of all the splendors of heaven, of life. I like to be alone by it, under international online exhibition.)
the changing lights of the sky in the wind that brings it to life. It is so lively. A bird flying
over or gliding on it, a rock, a cliff, a beach, a terrestrial landscape, a boat under sail, a
ship appearing – all can inspire me in many ways. My life will be too short to capture freely
its marvelous sparkles despite all my colors and brushes.”
JOHN STOBART FE/ASMA (b. 1929), Uploading in Hong Kong:

The Dashing Wave, 1977, oil on linen, 18 x 24 in. “Ever since
my schoolboy days in Derby, England, I’ve had a fascination for
maps of the world and the spread of the British Empire around
the globe. Having an opportunity to paint the celebrated clipper
ship Dashing Wave, I felt the fabled port of Hong Kong with
its intriguing local craft and surrounding peaks would be the
perfect setting. In this scene, the clipper rides at anchor while
a Chinese junk, with its fully battened sails, prepares to leave.”
BY DANIEL GRANT
T O D A Y ’ S
M A S T E R S
DAWN
WHITELAW
LEARNER, TEACHER, MASTER
n earlier eras, artists learned their craft by apprenticing with a company that produced the Yellow Pages (“archaic now,” she laughs),
master or studying at an atelier or picking it up through trial and creating pen-and-ink illustrations for advertisements inside the
error. Since the end of World War II, however, most professional phone book. Next came employment in a small advertising firm, then
artists attend four-year universities to earn Bachelor and/or Mas- a stint as interim art director for a Nashville magazine. On the side,
ter degrees in one studio art form or another. Dawn Whitelaw, Whitelaw began teaching as an adjunct at Lipscomb, starting in 1968
who was born in 1945 and lives with her hus-
band of 54 years just outside Nashville, did
go to college — specifically Nashville’s Chris-
tian-focused David Lipscomb University.
And she did earn a B.A. there, but one really
would have to say she learned how to paint
on her own, largely through attending work-
shops.
Lipscomb did have a studio art depart-
ment in the 1960s when Whitelaw studied
there, but it had just two full-time faculty
members and a few adjunct instructors.
Whitelaw recalls that “the focus then was
on getting a job, doing something with
art.” The curriculum for an art major like
Whitelaw “included some art history, one
painting course, one drawing course, some
graphic design, some teaching. The pro-
gram was very limited.”
Whitelaw augmented this training by
taking a couple of classes at George Pea-
body College in Nashville, which is now
part of Vanderbilt University, “but then the
four years were up and it was time to get a
job.” Having focused primarily on graphic
design, Whitelaw duly landed a job with a
Breath of Spring, 2020, oil on linen, 12 x 14 in., Leiper’s

Creek Gallery, Franklin, Tennessee
and continuing through 1999. At first she taught graphic design and
illustration, but later added painting in watercolors and oils. Draw Nigh, 2010, oil on linen, 42 x 52 in., Portraits, Inc., Birmingham
Whitelaw could probably have continued this way for a long time,
but in 1987 she decided to “up her own game” by registering for her first
painting workshop. It was led by the Wisconsin portraitist Jim Pollard, (Tony Bennett, Katharine Hepburn, Liv Ullmann), titans of business,
son of the renowned portraitist George Pollard (who painted Pope and college presidents, and in 1971 he published a book about his tech-
John Paul II, as well as Presidents Truman, Eisenhower, Kennedy, and niques, Painting Portraits. Whitelaw read it and promptly decided to
Reagan). From him Whitelaw “learned a lot of technical things such as study with Kinstler.
color temperature, brushwork, paint application, and also chiaroscuro,” “I found him teaching in Maine and started taking workshops with
which Pollard defined as “value turning form.” In addition, he taught him,” she says. “And I really don’t know how many I took, but it was a lot.
the “sight-size method of drawing,” which involves depicting the model After he stopped teaching, I visited his studio every year. He was such a
at exactly the same size one sees the figure, allowing the artist to see generous artist and just helped me so much. I can’t even tell you how he
the subject and drawing side by side at the same scale. “I’d never been shaped my path as a painter. I was pretty much a clean slate. I didn’t have
exposed to that before,” Whitelaw remembers. much training in painting, but I had a huge interest. I asked him, ‘How
Pollard, who gave up portraiture a decade ago and now works can I be a better portrait painter?’ And he replied, ‘Get out and paint the
full-time with his sons producing the Blue Earth line of pastels, landscape. Paint outside.’ And that led me down another wonderful path.”
recalls Whitelaw as “enthusiastic” and “a quick learner.” He says his That path proved to be three-pronged: fine art painting, port-
workshops were always filled with the graduates of college programs raiture, and teaching students in her own workshops. For more than
that focused on conceptual art and theory, “but with no emphasis on 20 years, gallery sales, portrait commissions, and teaching fees have
the craft of painting. I got university graduates who came to learn been Whitelaw’s three revenue streams. Sometimes one contributes
how to paint. In college, they didn’t learn a thing.” more than the others, but it’s usually an equal balance, she notes.
In the following years, Whitelaw took workshops with numerous
artists, but the one from whom she took the most was Raymond Everett FEELING THE SUBJECT
Kinstler (1926–2019), whom she describes as her mentor. He painted the What Whitelaw picked up from Kinstler was less how-to (for instance,
official portraits of eight U.S. presidents, as well as a variety of performers how to mix colors to get a flesh tone) and more “why-to.” She says, “He
Soft Fall of Light, 2015, oil on linen, 20 x 16 in., Beverly McNeil Gallery, Birmingham
would show us in great detail what he did, but then encourage us to

find our own selection of colors, brushes, surfaces, because that’s such
a personal thing. If we were painting somebody, his discussion would
be about that person and what that person’s character was and how
we could best portray that specific person. Mixing colors together and
which brush to use was secondary — just the mechanics, which is really
the easier part of painting. It’s that artistic vision, having a feeling
and connection with your subject, having a sense of what you want to
say about that person. That is, to me, the artistry.”
Whitelaw took Kinstler’s recommendation about going out-
doors quite literally. Today most of the paintings she sells via gal-
leries are landscapes — some created entirely en plein air — in a
style that recalls French Barbizon painter Camille Corot, as well as
some American Impressionists of the late 19th century. Her colorful
landscapes and loosely brushed foliage strongly recall the work of
Thomas Wilmer Dewing (1851–1938) and John Henry Twachtman
(1853–1902).
That influence is seen clearly in such oil paintings as Soft Fall of
Light, in which a stream reflects a maple tree’s red leaves, and Frozen,
where blues, greens, and reds are placed strategically amid whites
and grays to capture the visual effects of snow. Whitelaw is unapolo-
getically devoted to a late-19th-century aesthetic that highlights the
way light and colors capture our eye, with little interest in the formal
experimentation that characterizes 20th-century modernism.
Frozen, 2020, oil on linen, 30 x 40 in., private collection

CECILIA BEAUX (1855–1942), Man with the Cat (Henry Sturgis Drinker), 1898, oil
on canvas, 48 x 34 5/8 in., Smithsonian American Art Museum, Washington, D.C.,
1952.10.1, bequest of Henry Ward Ranger through the National Academy of Design
Sketch from Life (Bruce), 2019, oil on linen, 16 x 12 in., collection of the artist
didn’t know that paint on canvas could look like that. A painter like Beaux
was not in my art history textbook from college. It struck me in such a
way that I just felt like that was what I wanted to pursue. And so I did.”
Being versatile in terms of subjects and ways to earn a living is
important for an artist, since so few are able to do just one thing in
order to support themselves. Teaching art requires the instructor to
help students find their own voices, while creating art means finding
one’s own voice. Portraiture, on the other hand, involves blending
one’s interpretation of the subject with pleasing the sitter; this neces-
sitates discovering what makes them tick and presenting it in a man-
ner that appeals to how they see themselves. One needn’t be a psychol-
ogist, Whitelaw says, but along with sketchpads, paints, and brushes,
one needs to bring “sensitivity to another person. Kinstler taught the
importance of digging in and finding out what you can.” This includes
the “way they tend to hold their head, or things about their posture, or
what topic makes their eyes light up.”
Departure, 2015, oil on linen, 20 x 24 in., Richland Fine Art, Nashville Whenever possible, Whitelaw travels to meet her sitters, sketching
them on site, taking photographs she can consult back in the studio,
talking with them about their interests, seeing the clothes and back-
It was during a 1990 visit to Washington, D.C., that Whitelaw stum- grounds they prefer. Of course, this became more difficult during
bled upon a work that became highly influential, Cecilia Beaux’s Man the COVID-19 pandemic, and sometimes the commission is to paint
with the Cat (Henry Sturgis Drinker). That 1898 portrait of the artist’s someone already deceased.
uncle, dressed in a white suit, “was so full of vitality and life, and the Recently Whitelaw was commissioned to create a portrait of a
paint application was so exciting, that I almost lost consciousness. I really North Carolina farmer and craftsman builder who lived during the
mid-19th century. All she has to work with
is a tintype — a photograph printed on a thin
piece of metal — that is more brown-and-
off-white than black-and-white. Of course,
no one in the commissioning family has any
direct memory of him, yet Whitelaw still
“spent a lot of time seeing who in the family
had any kind of feeling about what this man
was. Not so much about his physical appear-
ance, but I learned a lot about him. He built
a two-story log house that still stands, and
this portrait will hang there. And they said he
was a big man. In the tintype, you can see the
roughness and chunkiness of his hands. And
so, though I could just replicate the tintype in
color, all of these things about this man will
play into the portrait and will make him more
specifically a human. Whether that family
folklore is accurate or not, I cannot say.”
Whitelaw brings the same attentiveness
to detail to her landscapes. “You might see
a pretty scene, but, really, what was it that
made you want to paint it? What specifically
are you connecting with? The quality of the
light? The lushness of the vegetation? The
more you can connect personally and emo-
tionally with the subject, the more it carries
over to the canvas.”
Whitelaw’s commissions come exclu-
sively through the Birmingham, Alabama-
based company Portraits, Inc., which draws
upon a stable of artists nationwide while field-
ing calls from prospective clients. Whitelaw’s
prices range from $6,500 to $18,500, depend-
ing on the scope of the portrait (e.g., head-
and-shoulders vs. full-length) and how many
figures are included. Though she paints the
occasional chairman of the board, most cli-
ents are families wanting to capture a spouse,
child, or children. Interestingly, some of her
sitters first came to know her work by pur-
chasing a painting at one of the firms that
represent her: Richland Fine Art (Nashville),
Leiper’s Creek Gallery (in her hometown of
Franklin, Tennessee), and Beverly McNeil
Gallery (located next door to Portraits, Inc.).
Although Whitelaw continues teaching
two- and three-day workshops in drawing
and painting from her Franklin studio, she
still attends workshops offered by others.
“I cannot imagine ever not wanting to take
another one,” she explains. “I learn more than
just what the teacher is teaching, but also how
students react to different approaches. This
experience fine-tunes my own teaching.”
Whitelaw’s approach reminds us that
learning never ends — that there is always
more growth ahead, no matter how talented
one already is.
DANIEL GRANT is the author of The Business of

Being an Artist and other books published by Skyhorse Press.
(TOP) St. Remy Square, 2020, oil on linen, 20 x 20 in., Richland Fine Art, Nashville
(ABOVE) You Come Too, 2010, oil on linen, 48 x 56 in., Rahr-West Art Museum,
Unless noted otherwise, all illustrations are by Dawn Whitelaw. Manitowoc, Wisconsin
BY PETER TRIPPI
T O D A Y ’ S
M A S T E R S
JENNIFER
BALKAN
PROCESSING
PANDEMONIUM
B
ased in Austin, Jennifer Balkan (b. 1970) is a figu-
rative painter with a vivid imagination uniquely
suited to our confounding times. Throughout
the COVID-19 pandemic, the artist has kept busy
developing a series of paintings and drawings
devotedtothethemeofPan-demon-ium.Thedictionary,Balkan
explains, defines this simultaneously strange and familiar
word in four ways: first, a wild uproar, disorder, or tumult;
second, a place or scene of turmoil or utter chaos; third, the
abode of all the demons, as coined by John Milton in his Para-
dise Lost (1667); and fourth, hell.
Well, we could be forgiven for believing the world today is
indeed Pandemonium, and Balkan’s memorable efforts to con-
vey that reality (or unreality?) will soon be experienced in her
solo show at AnArte Gallery in San Antonio. On view July 8–
August 6, Pan-demon-ium encompasses oil paintings measuring
either 40 by 40 inches or 30 x 30 inches (in other words, large)
and also pen drawings that are 24 by 19. Visitors can expect to
be immersed in Balkan’s visions of everyday people entwined
with aspects of the natural and man-made worlds, some of them
seemingly “cataclysmic, threatening, or predatory.”
Balkan says she launched this body of work in 2020
“fueled by, and in the throes of, a world stricken by a biologi-
cal pandemic, and also a social one.” Rather than hiding under
the sheets, she cleverly juxtaposed her models’ realistically
“Because I Will Always Make Waves,” 2021, oil on aluminum panel, 30 x 30 in.
through life’s experiences, unexpectedly challenging ones.) She knows
“And It Got So Hot, I Hid Within the Plumes,” 2021, oil on aluminum panel, 40 x 40 in. exactly how to draw and paint the human figure convincingly, with per-
fect foreshortening. But contrasting that technical skill with the simplic-
ity of coloring-book clouds and drip marks of thin paint flowing down
from them takes us aback, making us think again about how disorienting
rendered figures and faces with patently two-dimensional graphic con- the pandemic — in every way a sibling of pandemonium — has actually
tours — some evoking comic-book drawings — that provide context for been. The aesthetic wallop is accentuated by what Balkan calls “carni-
what the figures are experiencing. valesque” coloring — including intense pinks and purples — that, in her
In “And It Got So Hot, I Hid Within the Plumes,” for example, a young view, “leave us with feelings of comfort and hope.” (Having grown up not
African American man —cross-legged and crowned by a halo that tradi- far from the New Jersey Shore’s amusement parks, carnivals have always
tionallyindicatesholiness—gazesplacidlydownuponthejagged,general- been sites of escape and pleasure for her.)
ized skyline of a metropolis. (Balkan uses the halo motif with good reason: In fact, it was during her New Jersey childhood that Balkan began
in the past year, she explains, many people have become “enlightened” her lifelong passion for drawing. After earning a B.A. in behavioral
What Came After “Poof,” 2021, ballpoint pen and marker
on paper, 24 x 19 in.
The Other Side of Me, 2019, oil on aluminum panel, 30 x 30 in., private collection,
Ireland
neuroscience at Lehigh University (Pennsylvania), she took a Ph.D.

in Latin American sociology at the University of Texas. It was only
in 2001, while exploring Europe’s artistic treasures, that the art bug
resurfaced, so the following year she threw herself into painting full-
time. Having excelled in classes taken at Laguna Gloria Art School,
Austin Fine Arts School, and the Art Students League of Denver, it
only made sense that Balkan would begin teaching painting and draw-
ing privately in 2005. She went on to co-found Atelier Dojo Austin in
2018 with Denise Fulton and Karen Offutt and still teaches at that
much-admired academy of contemporary realist figurative art.
All of the works illustrated here are from the Pan-demon-ium
series except The Other Side of Me, which reminds us of the compelling
brand of imaginative realism Balkan was creating in 2019. That’s only
two years ago, but it feels so much longer than that, doesn’t it?
Information: anartegallery09.com, atelierdojo.com. Balkan’s instructional video

on painting portraits with a limited palette is available via streamlineartvideo.com.
PETER TRIPPI is editor-in-chief of Fine Art Connoisseur.
BY JEANNE SCHINTO
H I S T O R I C
M A S T E R S
POLLY
THAYER
PORTRAITIST,MODERNIST,
PHILANTHROPIST
hat’s in a name? Consider our subject’s
multiple monikers. Her birth name was
Ethel Randolph Thayer, although her
blue-blooded Boston Brahmin family
always called her Polly. Mrs. Donald C.
Starr was what she had printed on her stationery after she
married in 1933. Her eventual, legally changed name was
Polly Thayer Starr. But Polly Thayer (Starr) — with a relega-
tion of her husband’s name to a parenthetical — was how
she identified herself professionally late in her career.
And then there was May Sarton’s pet name for her, Poll, as
in “Darling golden-eyed Poll,” the salutation the poet used in
a note she sent Thayer in 1938. “I adored your letter and chor-
tled over the dinner-party,” Sarton wrote her friend. While in
their 20s, the two had met in a theater group; they remained
close for the rest of their lives. “Why didn’t you say anything
about your costume, the one thing I was dying to hear about.”
When Sarton wrote those words, included in a volume
of the poet’s correspondence, the reputation of Polly Thayer
(1904–2006), which is how she signed most of her paintings,
was still being established beyond Boston society circles.
Today, she remains best known in her native city, where she
livedandworkedinabay-windowedbrownstoneoverlooking
the Charles River in the historic Back Bay neighborhood.
But as someone who refused to follow the example of her
teachers and developed her own approach to painting —
and to the challenges of life itself — she deserves to be more
widely recognized, admired, and emulated.
The Algerian Tunic, 1927, oil on canvas, 35 x 30 in., private collection,

photo: Polly Thayer (Starr) papers, 1846–2008, Archives of American
Art, Smithsonian Institution, Washington, D.C.
Interval/Interlude (Self-Portrait), 1930, oil on canvas, 52 1/4 x 39 1/2 in.,
Museum of Fine Arts, Boston, bequest of Victoria Thayer Starr,
2014.335 (RIGHT) Circles, 1928, oil on canvas, 72 x 48 in., New
Britain Museum of American Art, Connecticut, gift of the artist,
1960.08
“PLACID LADIES” AND “PLEASANT

BACKGROUNDS”
Thayer might easily have spent her entire privileged life
as a lotus-eater. When one learns of her Connecticut
boarding-school days filled with, as she put it, “deliri-
ous excitement,” the summers she spent on her family’s
estate in Hingham on Boston’s South Shore, the lengthy
line of Episcopal ministers on her mother’s side, and
the fortune-making investments in 19th-century cop-
per mines on her father’s, it’s easy to imagine Thayer
fulfilling her destiny. She would merely have dabbled in
artsy pursuits, flitted to the world’s fashionable places,
and engaged back home in charitable works in the spirit
of noblesse oblige and all that. And there wouldn’t have been anything for the Smithsonian Institution, her mother noticed that she was rendered
exactly wrong with it — except that Thayer had the talent to make a seri- “bug-eyed” by the sight. “I couldn’t leave them … So she entered me in a class
ous artistic statement. She also had the need, even after she became the with Beatrice Van Ness, who taught there, and that was heaven.”1
wife of a lawyer-cum-yachtsman-cum-clubman (11 club memberships, Beatrice Whitney Van Ness (1888–1981) was a Boston School aco-
Thayer once counted) and the mother of two children. lyte who had studied with some of the style’s most revered practitioners,
So why did she take up painting in the first place? “I scratch where including Edmund C. Tarbell and Philip Leslie Hale. Thayer herself began
it itches,” she once wrote, adding rhetorically, “but — why the itch?” Her studying with Hale (1854–1934), initially at the museum, then privately.
reply: “to peel off the covering of the familiar.” By then, she was in her 70s “Mr. Hale said as far as he was concerned there were three methods of
and slowly going blind via glaucoma and macular degeneration, but she still painting,” she recounted years later. One was the Grizzly Bear Method.
thought of painting in the present tense: “It is such a heady magic to evoke “You know grizzly bears stand up against a tree, make their mark, to see
relatives, terror, moonlight, cows, or an idea, with a burnt stick and colored how tall they are against the other ones. You try to reach up to the oth-
mud, that it is small wonder that the artist, like the drug addict, must have ers, and you measure yourself by the past.” What he dubbed the Spider
his fix.” Of course, one has to be introduced to one’s addiction. In Thayer’s Web Method was employed by someone who “just pulls it out from him-
case, like many people, she started drawing as a child. Then one day, shortly self, his own thing.” Finally, there was Hale’s preference, the Chicken
after her father, Ezra Ripley Thayer, a lawyer, law professor, and dean of Hash Method, by which “you took the prettiest girl, and the nicest,
Harvard Law School, died at age 49, the adolescent Polly happened to see handsomest Chinese coat or costume you could find, and the most beau-
students making charcoal drawings of plaster casts at the Museum of Fine tiful background and Chinese jar — and you put them all together and
Arts, Boston. Luckily, as she explained much later in an oral history recorded you had the best of everything.”
(LEFT) Mark Anthony DeWolfe Howe, 1933, oil on canvas, 26 x 20 in.,
Boston Athenaeum, gift of Reginald Allen, 1982 (ABOVE) Donald Starr,
1935, oil on canvas, 50 1/4 x 35 1/4 in., Boston Athenaeum, gift of Polly
Thayer Starr, 1995 (BELOW LEFT) Miss May Sarton, 1936, oil on canvas,
36 1/4 x 32 1/4 in., Harvard Art Museums/Fogg Museum, gift of Paul J.
Sachs through Polly Thayer Starr and May Sarton, 1994.51
It’s a deft description of the Boston School, and describes Thayer’s 1927 self-
portrait The Algerian Tunic — to a point. Her dress is an exotic garment in a violet-
and-white print, but its short sleeves reveal her bare biceps, and it’s opened from
throat to mid-chest. She is posed against elegant, gold drapes, but the prop by her
side isn’t a Chinese jar; it’s an overflowing bowl of voluptuous fruit. Her reddish-
brown hair is bobbed, and her expression is insouciant, not compliant like the typi-
cal Boston School model, whose long hair is piled high and who, with teacup in
hand, looks ready to surrender to the rest cure.
“Not to sell the Boston School short,” Thayer averred. Hale and other teachers,
including Charles W. Hawthorne, had equipped her with “all kinds of implements,”
she acknowledged, but even during her apprenticeship she knew she had to break
free. She recalled asking herself: ‘I wonder if Miss Thayer’s going to drift into the
way of the rest of them? I wonder if she’s going to settle down into a painter of
pretty girls, posed in the studio, still life made decorative, and if you like charming,
but somehow dead things.” She knew “placid ladies” and “pleasant backgrounds”
were not what she wanted to paint.
MODERNIST IN THE MAKING

Thayer’s first solo exhibition, at Doll & Richards in Boston, opened on New Year’s
Eve, 1930, an auspicious debut that resulted in 18 portrait commissions. People
who knew her were well-represented among them. “None better connected” is
how Cleveland Amory characterized the Thayer clan in The Proper Bostonians,
his 1947 cultural critique whose first edition featured “A Bostonian’s Idea of the
United States of America,” a map that, for example, puts Omaha just north of San
Francisco. Predating by 30 years The New Yorker artist Saul Steinberg’s “View
of the World from 9th Avenue,” it’s a reminder of the old joke about the Boston
Self-Portrait, 1943, oil on canvas, 40 1/4 x 35 1/4 in.,
Boston Athenaeum, gift of Polly Thayer, 1995
matrons who, on their first West Coast visit, blamed the heat on the intended, her gaze is direct, assertive, self-assured. By this time, she had
ocean being 3,000 miles away. also won the Hallgarten Prize from New York’s National Academy of
To be fair, Thayer had already won a gold medal from the Boston Design for a magnificent, six-foot-high nude of 1928, Circles. Its sub-
Tercentenary Exhibition in 1930 for a second self-portrait, Interval, alter- ject, a professional model, is seated on a chair draped in black and white
natively titled Interlude, either of which could signify a stage in her bold fabrics, her cleaved backside toward the viewer, one foot on a tiger-skin
move away from her training. (When Hale saw it, he commented, “The rug, one hand grasping an antique chair’s finial. Call it Boston School
slime of the serpent!”) Or either word could have a literal meaning: the unchained. Thayer bought the background fabric on one of her trips
twilight that envelops the room where she is posed. Whatever Thayer to Paris. After the sitting, she had it made into a dress. “Before sewing
My Childhood Trees, 1938–39, oil on canvas, 17 x 21 in., Museum of Fine
Arts, Boston, gift of the Boston Society of Independent Artists, 40.212
Her modernist style in the ascendancy, Thayer produced

a likeness of Sarton consisting of contrasting colors and
contours: the oval of the poet’s ivory face, her dark-brown,
swept-back hair and sharply drawn eyebrows, the curving
arms of her dark-green jacket, her blue lap robe and improb-
ably blue cigarette with tip of red ash. (It’s a good thing she
ignored advice from an ArtNews critic, passed along by a
friend: “She’s strongest in black and white, tell her to stick
to that.”) Along with the poet’s pose and far-off gaze — she
leans away from the backrest of a Victorian armchair, per-
haps toward an unseen companion — it conveys the subject’s
formidable character and intellect. Acquired by Paul Sachs
for Harvard’s Fogg Art Museum, the painting remained with
Sarton, as arranged, until her death.
“HOW THE LANDSCAPE CHANGES!”

Thayer married Donald Starr, a Boston lawyer and her broth-
er’s Harvard classmate, when she was 29, late for a bride of
the period. “I was pretty gun-shy of marriage when it would
mean giving up painting,” she explained, “and it took a long
one must cut,” a French philosopher once said. That she was definitely in time to make up my mind.” She gave in while Starr was circumnavigat-
the process of doing. ing the globe with friends on one of his boats. (The largest of 10 was a
Thayer’s 1931 portrait of Helen Stevens Coolidge embraced tradi- schooner named Pilgrim.) Thayer had agreed to marry him when he
tion, however. Standing by a marble fireplace, Mrs. Coolidge, hands returned, but a cable summoned her to Genoa, where he wanted the
clasped, looks prosperous in a satiny beige-and-periwinkle dress and wedding to take place, and she went. “He had webbed feet — always had
pearls. She was one-half of a wealthy Boston couple who summered in to get on a boat,” quipped Thayer, who herself suffered from seasickness.
North Andover, Massachusetts, on an estate her family had owned since After their Paris honeymoon, he continued on his voyage while Thayer
1729. Known today as the Stevens-Coolidge Place, the property now headed home to paint more portraits. In 1935, she painted her husband in
belongs to a land conservation group, the Trustees of Reservations, as evening dress. She thought that attire best reflected his “gregariousness,”
do the portrait, dress, and effusive thank-you note that Mr. Coolidge — a she said. “He loved going about.”
diplomat, Thomas Jefferson descendant, and nephew of Isabella Stewart In 1940, the year Thayer gave birth to her first child, Virginia — she
Gardner — sent with Thayer’s $1,000 fee. would have her second daughter, Dinah, in 1945 — the MFA acquired her
Thayer also painted Mark Anthony DeWolfe Howe, the writer and brooding landscape My Childhood Trees. It is composed of conifers and
Atlantic Monthly editor, early in her career. His three children had been their shadows, which overwhelm a group of peak-roofed structures. Pre-
her childhood companions. The 1933 portrait depicts the bespectacled sumably, it was inspired by the Hingham place, where Polly and her hus-
Howe, pipe in hand, dressed formally in black jacket and tie with a pocket- band built their own summer house. At the time the MFA owned fewer
watch key affixed to a gold chain draped across his white vest. Against a than 10 American modernist canvases — and none by a Bostonian. In 1943,
background propped with two tomes, he looks learned, distinguished, she painted another self-portrait startlingly unlike either The Algerian
imperious, just as he undoubtedly saw himself. The painting belongs to the Tunic or Interval/Interlude. Hanging in the Boston Athenaeum today, it
Boston Athenaeum, the venerable private library on Beacon Hill; Howe shows her in a cocked pink hat and olive-green suit with a reddish-brown
was its director in the mid-1930s. According to Thayer, the sitting took fur stole thrown over her shoulder. One hand is on her hip; on the other, an
place at the Howes’ summer “cottage” in Bristol, Rhode Island, while he elaborate coral ring. Initially, that hand held a paint brush. (She holds one
read aloud to her from Henry James’s The American Scene. in The Algerian Tunic.) What did the substitution mean? Was it a design
To be sure, it’s hard to resist giving people what they want, espe- choice? Or an equivocation? In 1942, in search of spiritual guidance, she
cially if they are kin or kindred, paying clients, or prevailing arbiters of had joined the Quakers, who “never looked with much favor on the arts”
taste. In 1932, just before Thayer’s first New York solo show opened at and expected everyone to get involved with projects, leaving her with less
Wildenstein, a Town & Country columnist wrote, “Her painting is pleas- time for her art — as did motherhood. It didn’t matter that she “was lucky
ing, conservative,” and noted that one of her sitters, heiress-socialite- enough to be so situated I could get people to look after the children, or
linguist Alice Vanderbilt Shepard Morris, had previously been painted by cook, or do whatever.” She was conflicted, and pressed.
another “conservative portraitist,” John Singer Sargent. In 1933, Boston’s In the 1950s and ’60s, despite her many obligations, familial, social,
Vose Galleries included Thayer in a group exhibition along with Tarbell and spiritual, Thayer kept painting, mainly portraits, the type of work she
and two other Boston School artists, Frank Weston Benson and Freder- felt grounded her. But she also produced landscapes, Boston cityscapes,
ick Bosley. That same year, however, she painted a dramatic, modernis- and seascapes, especially of Martha’s Vineyard, where she and Donald
tic portrait of Olivia Chambers, a New York acquaintance, wrapped in a had bought another summer house so he and his boats could be nearer the
fringed, black shawl with a Spanish accent. Indeed, Goya’s use of black water. “How do you like growing old — how old are you now?” she asked a
in a work Thayer had copied at the Metropolitan Museum of Art was her friend, novelist Slater Brown, in a 1965 letter.2 At the time he was in his late
inspiration. By the time Thayer painted her friend May Sarton’s portrait 60s; she was 59, and could not, of course, have predicted she would live to
in 1936, she had studied a bit in New York, at the Art Students League, become a centenarian. “It is interesting how the landscape changes!” She
with Harry Wickey. Mercilessly, he had marked up her work, and intro- was being metaphorical, but as her eyesight began to fail, the statement
duced her to abstract values. “That there was something that went on became literally true. A random gift of a jeweler’s loupe had once delighted
between the outline, other than just dark and light” was a revelation, she her — a new toy; in time, it morphed into a useful tool, especially when, in
recalled. “The heavens opened.” the 1970s and ’80s, she pursued even more intensively a previous interest:
STEVEN TREFONIDES (b. 1926), Polly Thayer Starr,
c. 1980s, photograph, Polly Thayer (Starr) papers, 1846–
2008, Archives of American Art, Smithsonian Institution,
Washington, D.C.
Cabbages, 1936, oil on canvas, 21 x 25 in., Museum of Fine Arts, Boston, museum purchase with funds by exchange
from a Bequest of Mrs. George Oliver Wales, Gift of Clara C. Lyman in memory of Charles Boden Green, Charles H.
Bayley Picture and Painting Fund, and Gift of Mrs. Walter R. Eaton, 2007.255
painting the natural world, including animals, insects, vegetables, and said late in life, choosing her words with care: “You never achieve what you
flowers, some closeups of which rival Georgia O’Keeffe’s. She showed and want, but you’re always getting nearer to the essence. And that’s a drive
sold little, partly because she wasn’t interested, but also probably because and a search that never ends.” In telling Thayer’s story, Jackson also pre-
the art world wasn’t particularly interested in her. sented the artist’s carved-oak desk, on loan from Weir River Farm in Hing-
ham. Her family’s summer estate, renamed, was given by Thayer to the
RESURGENCE Trustees of Reservations — only one of her many donations and bequests.
“Ican’tseemuch,so…that’sit,”ThayertoldtheSmithsonianInstitutioninthe Today those who know Polly Thayer’s name are becoming more
mid-1990s when her oral history was recorded. “Now it’ll have to be insight,” numerous than ever. As part of the MFA Boston’s sweeping survey
she added with a laugh. But as she made the transition from her Boston resi- Women Take the Floor, Thayer’s The Algerian Tunic and a vivid 1936 still
dence to a suburban retirement community, where she lived for her last dec- life, Cabbages, have been on view since September 2019, and will remain
ade, there occurred a resurgence of interest in her work among Bostonians. there until November 28, 2021. In the company of such eminences as
It began with a 1994 show at Boston’s Copley Society of Art, which Thayer O’Keeffe, Alice Neel, Helen Frankenthaler, Elaine de Kooning, Loïs
recalled “nearly sold out.” Another Copley exhibit followed in 1996. Then Mailou Jones, and others, whose importance has been overlooked, these
in August 2001, the MFA put Thayer’s Sarton portrait on a giant banner and enduring works are exactly where they belong.
hung it outside its entrance. It announced the landmark exhibition A Studio
of Her Own: Women Artists in Boston 1870–1940. Thayer was the show’s only
living exemplar, in the company of Ellen Day Hale (Philip’s sister), Lilian Information: pollythayerstarr.org; mfa.org. Visitors to Weir River Farm in Hing-
WestcottHale(hiswife),ElizabethBoottDuveneck,SarahWymanWhitman, ham (thetrustees.org/place/weir-river-farm) can enjoy the new outdoor installa-
and others — over 40 artists in all. Vose put on a concurrent show, and subse- tion Polly Thayer Starr: Spirit of Discovery, which features five “exploration sta-
quentones,includingCentennialExhibition:ACelebrationoftheArtist’s100th tions” reproducing approximately 20 of the artist’s works, especially her paintings
Birthday in 2004. Then came the memorials upon her death, and the circle of the estate’s scenic landscapes.
grew wider.
In 2017, the Rockport Art Association & Museum in Massachusetts
hosted her first major retrospective, Polly Thayer Starr & The Alchemy of JEANNE SCHINTO is an independent writer who lives in Andover, Massachusetts.
Painting, featuring more than 80 works on loan from private collections
and 19 public ones. In 2020, the Fruitlands Museum in Harvard, Massa-
chusetts, exhibited Polly Thayer Starr: Nearer the Essence, whose curator, Endnotes
Christie Jackson, mined the artist’s papers at the Smithsonian, the Polly 1 Quotations, except where noted, come from the Polly Thayer (Starr)
Thayer Starr Charitable Trust, and other sources for ephemera, sketch- papers, 1846–2008, Archives of American Art, Smithsonian Institution.
books, journals, studies, watercolors, and pastels, then displayed them 2 “Letters from Polly Thayer to Slater Brown, 1955–1965,” Boston
alongside the familiar oils. The show’s title came from something Thayer Athenaeum, used by permission.
BY LOUISE NICHOLSON
H I S T O R I C
M A S T E R S
GRINLING
GIBBONS
AMASTERCARVER’S
LEGACYLIVES ON
“
arving is storytelling, carving is sculp-
ture, it is even painting. It could be
seen as slavish realism, but with Gib-
bons you can’t say that,” says Nick
Roberson, a stone carver for three dec-
ades and now president of Britain’s Master Carvers
Association, which represents about 40 of the world’s
top wood and stone carvers. The person he’s prais-
ing is Grinling Gibbons (1648–1721), who died exactly
300 years ago and is widely considered the greatest
British carver of all time.
Roberson continues: “Because of his storytelling
Gibbons transcends his technique. The story comes
through without anything getting in the way. So you
feel the duck’s feathers, taste the half-eaten apple. He’s
so damned good that nobody’s managed to get near
him. He bounces down the centuries. His work is fresh
as a daisy.” True. Whether they are seen at St. James’s
Church on Piccadilly, royal rooms at Windsor Castle
and Hampton Court Palace, or mansions such as Pet-
worth House, Gibbons’s sumptuous swags transform
wood and stone into life-filled curling leaves, juicy
fruits, and newly opened blossoms that seem to have
been bought at the farmers’ market that morning.
In a London career spanning half a century, Gib-
bons was master carver, able negotiator, smart busi-
nessman, and manager of a workshop with up to 15
assistants, which made him a mentor and teacher, too.
Trailblazing the Anglo-Dutch Baroque style that cap-
tivated his English patrons, he elevated the country’s Nick Roberson (b. 1966) carving his portrait of the naturalist Sir Hugh Low (1824–1905) posed among his
decorative carving and interior design to a new status. botanical and zoological discoveries. This panel of Carrara marble was commissioned by a museum in Alassio,
To celebrate his achievements and legacy, the Grin- the town on the Italian Riviera where Low died.
ling Gibbons Society was established last year. Under
(LEFT) AMBROSIUS BOSSCHAERT (1573–1621), Bouquet of Flowers in a Glass Vase,
1621, oil on copper, 12 7/16 x 8 12 in., National Gallery of Art, Washington, D.C.,
1996.35.1 (ABOVE) GRINLING GIBBONS (1648–1721), Font cover for the Church
of All Hallows by the Tower, London, 1682, limewood, 37 1/4 x 33 1/2 x 33 1/2 in., photo:
Angelo Hornak
its aegis, events starting this August and running for a full year have two LOOKING CLOSER
broadaims:toinspireanewgenerationofcarversandtoexplainGibbons’s Explaining genius is always difficult because it is an enigma. Where did
genius. Gibbons’s genius spring from, how did he become the go-to carver for the
The impetus for these celebrations began with the practical aim to royals, why are the ethereal festoons he created still inspirational today?
inspire young carvers by staging the Grinling Gibbons 300 Award com- These matters will be addressed in the Grinling Gibbons Society’s loan
petition. It is funded by several livery companies, which were established exhibition, Centuries in the Making, which will launch this summer at
as guilds in medieval London to protect their trades and maintain stand- Bonhams, a major auction house located in central London. (It will open
ards; today they continue to encourage the learning and practice of their on August 3 — 300 years to the day since Gibbons’s death — and close
skills. “The Grinling Gibbons Society wanted an educational legacy for on August 27.) This show will then move to Compton Verney, the his-
his tercentenary, something meaningful and life-changing,” Roberson toric Warwickshire country house converted into a museum in 2004 (on
explains. Publicized as widely as possible, the competition’s brief view there September 25–January 30). Some of the students competing
included the historian, antiquarian, and politician Horace Walpole’s for the Grinling Gibbons 300 Award will be working on site, demon-
enduring description of Gibbons’s genius (“art which arrives even unto strating their carving skills, talking with the public, and making those
deception”) and required the applicants to deliver “a compelling package all-important contacts.
of storytelling and execution.” The exhibition seeks to dispel, or at least discuss, some of the Gib-
In the end, 11 early-career carvers were chosen, all demonstrating bons mystery. For a start, he is claimed by the English but is fundamen-
creativity and potential. “Their application designs were amazing,” Rob- tally Anglo-Dutch. He was born in Rotterdam in 1648 to English parents;
erson enthuses. Five of them work in stone and six in wood. For three his father was a merchant venturer in that trading port city, where deco-
months, they are fully funded and can consult master craftsman mentors rative carvers found good employment in the construction and ship-
as they realize their designs using Gibbons’s own materials — supple and building industries. Young Grinling may have been apprenticed to the
strong limewood, marble, fine French limestone. During this phase, the local van Douwe family of sculptors, or he may have gone to Amsterdam
contestants meet other gifted carvers (both emerging and established), where Artus I Quellin, a leading Flemish Baroque carver, was working
gain contacts, and perhaps even find their first patrons. Roberson, a on the lavish new town hall; that project kept Quellin busy for 14 years
carver who knows well the loneliness and difficulties of starting out, is while running a huge studio. Or perhaps Gibbons apprenticed in both of
excited for them. “These young people will have a sense of belonging. It’s these studios.
fine to come out of college with skills, but then you have to do an appren- What is certain is that he absorbed Flemish Baroque ebullience,
ticeship.” It’s tough, but Roberson is optimistic. These people will be the blending it with the more restrained Dutch love of botany and its precise
future cohort to sustain heritage skills — and perhaps some will even observation, manifested in the complex 17th-century still life paintings
work on the ongoing restoration of the Houses of Parliament in London. we still admire. (A superb example by Ambrosius Bosschaert is illustrated
GRINLING GIBBONS (1648–
1721), Cravat imitating Venetian
needlepoint lace, c. 1690,
limewood, 9 1/2 x 8 1/4 x 2 in.,
Victoria & Albert Museum,
London, gift of the Hon. Mrs.
Walter Levy, W.181:1-1928
GRINLING GIBBONS (1648–1721), Design for a chimney piece at
Hampton Court Palace, 1689–94, pen and ink with colored washes on
laid paper, 16 1/8 x 8 2/3 in., Sir John Soane’s Museum, London, Vol.
110/43, photo: Hugh Kelly
leading architect and carver, John Etty. The young man then
headed south to Deptford, England’s leading shipbuilding
center near London.
It was there, in a little thatched house in a field, that the
courtier and diarist John Evelyn encountered Gibbons by
chance, noting “such work, as for the curiosity of handling,
drawing & studious exactnesse, I never in my life had seene
before in all my travels… There being nothing in nature so
tender and delicate as the flowers and festoones about it.”
But not all discoveries work out successfully the first time:
when Evelyn brought Gibbons and his carving to Whitehall
Palace, neither King Charles II or Queen Catherine bought it.
Incredibly, Gibbons got a second chance. Peter Lely,
principal painter to the king, spotted the young man’s deco-
rative carving in a Thames-side theater and mentioned it to
his best friend, the architect Hugh May, who was Comptrol-
ler of the King’s Works. May commissioned Gibbons right
away. His career took off, especially when the king agreed to
May’s proposal that Gibbons decorate the new royal apart-
ments at Windsor Castle, a huge project begun in 1675. Three
years later, Gibbons could afford to buy a large house in Bow
Street, Covent Garden, where he lived for the rest of his life.
Gibbons’s flamboyant wood carving and stone sculp-
ture — and doubtless his communication skills at court —
sustained his position as artist of choice for six monarchs,
from Charles II to George I, spanning almost half a century.
His technique using pliant pale limewood astonished both
his patrons and fellow English carvers, who still worked in
the darker and less malleable oak.
While Gibbons’s large workshop on Ludgate Hill, near
St. Paul’s Cathedral, supplied decorations for palaces, man-
sions, churches, and much more, it carried out some esoteric
commissions, too. For instance, when Charles II died in 1685,
his successor, James II, immediately instigated an exhibition
at the Tower of London (already open to tourists) to promote
the unstable Stuart dynasty. Called The Line of Kings, this
show contained wooden carvings of selected “good” kings
dating back to William the Conqueror, each portrayed in
armor and riding a horse. Gibbons and his workshop created
the images of James II’s brother Charles II and their father,
the hapless Charles I. The Line of Kings remains on display in
the White Tower today.
MANY HIGHLIGHTS
This summer’s Gibbons exhibition will tell the mas-
ter’s story, despite the disadvantage that most of his sur-
viving work is either part of fixed decorative schemes
or simply too heavy or cumbersome to move. One
confirmed exhibit is the showpiece limewood font
here.) Married with his extraordinary technical skills, Gibbons would cover that Gibbons made in 1682 for the church of All Hallows
become a leading exponent of the Dutch Golden Age Baroque style. by the Tower (on display at Bonhams, but not Compton Verney).
Rather than compete with plentiful numbers of cutting-edge carvers This font cover is usually seen from a distance through a locked grill,
in the Low Countries, Gibbons seems to have spotted a gap in the mar- but exhibition visitors will be able to study it close-up, to admire how
ket in his parents’ native England. In 1666 the Great Fire of London Gibbons layered his bold, complex composition of a bird perched on
had laid waste to half the city, destroying more than 13,000 houses and tumbling foliage flanked by two standing cherubs. Another highlight
87 churches. They needed rebuilding and decorating, and new build- is a virtuoso piece Gibbons made in 1690, possibly to impress potential
ings were required for the fast-expanding metropolis. Not surprisingly, patrons: a life-size neck cravat carved in limewood to imitate Venetian
there was a shortage of carvers, especially good ones. In 1667, therefore, needlepoint lace. Much later, Horace Walpole owned it and in 1769 —
19-year-old Gibbons crossed the North Sea and went to the ancient city with tremendous bravura — wore it to impress some foreign visitors to
of York, where he familiarized himself with English practices under its Strawberry Hill, his art-filled mansion near London.
A limewood panel created by Grinling Gibbons (1648–1721) for the
Carved Room at Petworth House, West Sussex, England, photo ©
National Trust Images, Andreas von Einsiedel
To get over the problem of so many Gibbons works
needing to remain in situ, events are being staged across
Britain through the tricentenary year under the heading
Grinling Gibbons 300: Carving a Place in History. At York,
the Minster’s exhibition focuses on its Gibbons funerary
monuments dedicated to three archbishops. At Oxford and
Cambridge, Gibbons and his busy studio assistants, many
of them Flemish, made major works during the 1690s,
the apogee of his career. Tours to be offered include the
magnificent screen and reredos in Oxford’s Trinity Col-
lege Chapel, and the abundant decoration filling the Wren
Library at Trinity College, Cambridge.
Much of Gibbons’s work in England’s aristocratic
country houses survives. Among them, Petworth is his
crowning achievement, a must-visit. Created for Charles
Seymour, 6th Duke of Somerset (who as Cambridge’s chan-
cellor had commissioned Gibbons to decorate the Wren
Library), Gibbons’s dining room decoration — now part of
the enlarged Carved Room — is a gloriously ostentatious
display of political loyalty to the Dutchman William III,
who relocated to London in order to rule England with his
wife, Mary Stuart. Its fashionable Dutch Golden Age style
was applied to swags, flowers, cherubs, lobsters, and even
tour-de-force sheet music for Henry Purcell’s The Fairy
Queen, which was commissioned to celebrate the royal
couple’s 15th wedding anniversary.
Back in London, St. Paul’s Cathedral is where Wren
and Gibbons finally collaborated for the first time, in the
1690s. Events there will focus on the choir area, where Gib-
bons was responsible for the stalls, two bishops’ thrones,
and the Lord Mayor’s seat. There will also be walking tours
of London, which, of course, have too much to choose from.
One highlight is experiencing the breathtaking high relief
and density of carving in the 1684 reredos, font, and organ
case that Gibbons made for Wren’s St. James’s Piccadilly.
Having suffered from the accumulation of dirt, dust, and
coal smoke, as well as various human interventions with
wax, stain, and varnish, the reredos has been cleaned by
conservator David Luard so that we can enjoy it as Gibbons
intended.Itslimewoodisaspaleandbrightaswhenitleftthe
workshop, standing out against the dark paneling. Evelyn
described this effect as “candour,” in its original meaning of
purity and brightness.
AN ENDURING LEGACY
GRINLING GIBBONS (1648–1721) and ARNOLD QUELLIN (1653–1686), A Putto It was at St. James’s that a young Ohio academic named David Esterly
Holding the Crown and Coat of Arms of Scotland (one of a pair), c. 1686, marble, (b. 1944) experienced his epiphany in 1974: “We walked toward the altar.
37 3/4 x 27 1/4 x 4 1/4 in., Victoria & Albert Museum, London, gift of Dr. W.L. Hildburgh, Floating on the reredos … was a shadowy tangle of vegetation, carved to
FSA, A.3-1973 airy thinness. Organic forms, in an organic medium. My steps slowed, and
stopped. I stared … It seemed one of the wonders of the world.” Esterly
retreated to a cottage to teach himself how to carve limewood, becoming
The exhibition will also contain some rare design drawings, made so accomplished that he is considered the one carver to have come close
with Gibbons’s assured line and completed with colorwashes while he to Gibbons. Indeed, he was later entrusted with making the replacement
worked for the architect Christopher Wren at Hampton Court; they owe for a Gibbons carving badly charred in the Hampton Court Palace fire.
their survival to Wren’s keeping them for himself because he rated them No Gibbons pilgrimage should omit Hampton Court. With the
so highly. And there will be some intriguing pieces that still, 300 years arrival in 1689 of Mary Stuart (aged 27) and her 37-year-old husband,
later, leave authorship in the air. One is a pair of marble cherubs made William III, the Dutch Prince of Orange, to rule jointly as England’s
around 1686, probably for James II’s chapel at Whitehall — a collabora- Protestant monarchs, Dutch taste infiltrated its aristocratic life — houses,
tion by Gibbons and Arnold Quellin, a Flemish carver working in London decorative arts, food, and gardens. From the start, Hampton Court was
whose cousin Artus I Quellin was possibly Gibbons’s former master. But where they wanted to live. But Parliament insisted they have a house
which man made these? The jury is still out. in town. Abandoning Whitehall Palace beside the damp River Thames,
Whether or not you can attend the exhibition, rest assured that it which aggravated William’s asthma, they remodeled rural Kensington
will be posted online to encourage wider thinking on subjects such as Palace due to its healthier air. In its Orangery, now perhaps London’s
Gibbons’s early influences, how his status as stone sculptor measures up most regal restaurant, Gibbons’s swags of naturalistic flowers and foli-
to his five-star rating as wood carver, and how he mentored his work- age, punctuated by cherub faces, have just been cleaned in honor of his
shop assistants. Sharp-eyed conservators are now making finds that raise tercentenary. There we can now fully appreciate the high carving and
some conflicting ideas. deep undercutting that make these three-dimensional forms so light
In his published account of this daunting challenge, Esterly offers
DAVID ESTERLY (b. 1944), Quodlibet #1 [Whatever You Please], 2012, limewood, many insights on Gibbons, in particular his choice of limewood. He
24 x 28 x 5 in., private collection writes, “Gibbons couldn’t have invented his style without it. Crisp and
firm, soft enough to be carved quickly but strong enough to be radically
undercut, with remarkable grain structure that can … be worked in any
they might almost sway in a breeze. Two shocks for Gibbons purists direction … amendable to the fine detail, the soft reversing curves, the
have come to light: the scientists report that these carvings were defi- thin edges that are trademarks of Gibbons’s style.” Of limewood, Esterly
nitely painted from the start, rather than left bare, probably to fit with writes that its “paleness is the colour of transformation, of magical pos-
the room’s decorative scheme. In addition, the brackets on the ends were sibility … Gibbons picked the palest wood in the forest to carve, and then
carved in pine, not limewood. left it untouched.”
Meanwhile, back at Hampton Court — reachable by a 12-mile boat Perhaps the secret of Gibbons’s genius, then, is that he found the
ride up the Thames — the new king and queen expanded and remod- right medium to express his dreams.
eled its Tudor buildings to suit modern Dutch taste, each with a set of
state and private apartments. Wren was their architect, and Gibbons
added spectacular decorations to almost every room. In 1693 he was Information: grinlinggibbons.uk, grinling-gibbons.org, robersonstonecarving.
appointed Master Sculptor and Carver to the Crown. Almost three co.uk, mastercarvers.co.uk, bonhams.com, comptonverney.org.uk, davidesterly.
centuries later, on March 31, 1986, a fire gutted whole sections of the com. David Esterly’s 2012 book The Lost Carving: A Journey to the Heart of
state rooms. Some of the Gibbons carvings were saved, but one section Making is still in print.
needed to be made from scratch for the King’s Drawing Room. David
Esterly was chosen to do it. He and David Luard proceeded to make
landmark discoveries; they found that Gibbons used a tool of dried LOUISE NICHOLSON is an art historian, lecturer, and writer who lived
Dutch rush to smooth his finished carvings, and also that limewash had in New York and explored the U.S. for 19 years. Now living in England, she
been applied to them since the turn of the 18th century to retain the frequently visits the U.S. and India.
limewood’s “candour.”
BY AIHUA ZHOU PEARCE
H I S T O R I C
M A S T E R S
XU
BEIHONG
CHINA’SFIRSTTRANS-
NATIONALARTIST
Self-Portrait, 1922, charcoal and white chalk on
paper, 12 2/3 x 19 in.
(ABOVE) Boatmen, 1936, ink and watercolor on paper, 55 1/2 x 143 1/4 in.
Male Nude, 1924, charcoal and white chalk on paper, 19 2/3 x 12 3/4 in.
u Beihong (1895–1953) has been described as

“the father of modern Chinese representational
painting” and “the founder of Chinese modern
art education.” These phrases are not exaggera-
tions because, without him, figurative painting
in China would look very different today. There his name
appears in every art-historical survey, and there are many
scholarly books about him. Three universities and high
schools are named after him, and there are three Xu Beihong
museums — in Beijing, Chongqing, and his hometown. Yet
this artist remains virtually unknown in the United States,
where there has been only one exhibition about him (at the
Denver Art Museum in 2011–12). In view of our own era’s
globalism, this lack of familiarity is particularly regrettable
because Xu was one of the first truly trans-national artists.
His paintings transcend cultural boundaries, and this article
seeks to explain why and how.
ABSORBING ALL HE COULD

Xu was born in the pretty little town of Yixing, about 125
miles west of Shanghai. His father, Xu Dazhang (1869–1914),
was well-known in the region as a traditional artist and art
educator. Under his guidance, the boy learned to make cop-
ies of ink paintings from the age of 9. This early training laid
a solid foundation for his own figurative art.
In 1912, 17-year-old Xu departed for the big city of
Shanghai, hoping to improve his technique and sell his
work. There he met the prominent reformer Kang Youwei
(1858–1927) and was impressed by his proposals to rein-
vigorate Chinese art — which had become stagnant and
repetitive — through synthesis of Chinese and Western tech-
niques. Kang’s efforts gained momentum in 1919 with the
May Fourth movement, through which China’s intellectuals
sought to reform the country and restore its global influence,
which had been shaken by Western colonialist incursions.
In 1917, armed with Kang’s letter of introduction to
meet the artist Nakamura Fusetsu (1866–1943) in Tokyo, Xu
traveled to see Western art in Japan, an Asian nation that had
successfully modernized and asserted its growing interna-
tional power. During his six months there, he was amazed by
(ABOVE) Slave and Lion, 1924, oil on
canvas, 48 1/2 x 60 1/4 in., private
collection, photo courtesy of Christie’s
Images Ltd. 2021 (FAR RIGHT)
Sound of the Flute, 1926, oil on canvas,
31 1/4 x 15 in. (RIGHT) Xu Beihong’s
copy of Jacob Jordaens’s Allegory learned from his father the traditional Chinese
of Fertility, 1926, oil on canvas, line drawing method of baimiao ( ) and had
25 1/2 x 33 in. copied images from the books of the famous
figurative painter Wu Youru (1840–1893). In
France he had mastered academic techniques,
as we can see in two drawings illustrated here,
Self-Portrait and Male Nude. In both, Xu used
charcoal and white chalk on toned paper, apply-
ing parallel and cross hatching to produce values,
yet he also finished them with the calligraphy,
how Japanese artists had adapted the West’s rich aesthetic traditions dates, and red seals that traditionally appear on Chinese ink paintings.
to find a new voice of their own. He was particularly shocked when he Xu drew his Self-Portrait when he lived briefly in Berlin in 1922 in
saw ancient Greek sculptures displayed in Tokyo’s museums. order to avoid some embarrassing financial difficulties in Paris. The shad-
Xu then followed Kang’s advice to visit Beijing to meet the forward- owy edges of the face accurately separate light and dark forms and allow us
looking principal of its leading university, Cai Yuanpei (1868–1940), who to fully appreciate his expression. Xu’s straight lines are concise and crisp,
recognized his talent and hired him as an art professor in 1918. Xu taught while his graceful flowing curves are distinct and show the confidence of
figure painting there for a year, but soon realized that if he was to become a the maturing artist. (In the background we observe Xu’s image of a horse
serious advocate for Western technique, he would have to train in the West. — a subject for which he became renowned later.) In Male Nude, we see
In 1919, therefore, the 24-year-old boarded a steamer headed for Paris a model seated with his left leg bent and right foot pushed up against an
in order to study realist figurative art with the ultimate goal of reforming invisible object — an absent void. Leaving such spaces empty is common
painting in his homeland. During his eight years in the West, Xu attended in traditional Chinese painting; this technique is called liubai ( ), which
the famous Académie Julian and École Nationale Supérieure des Beaux- means “remaining clean.” The drawing’s convincing three-dimensional
Arts, and became a pupil of the academic realist P.-A.-J. Dagnan-Bouveret effect is in no way diminished by Xu’s omission of a background.
(1852–1929). He also looked closely at the paintings of François Flameng
(1856–1923) and the neoclassical scenes of mythological and allegori- HOME AGAIN
cal subjects painted by Pierre-Paul Prud’hon (1758–1823). Xu especially After eight years in Europe, Xu returned to China in 1927 with a new
admired the idealized beauty and perfected bodily forms pursued by the vision of a hybrid style combining traditional and modern, Western and
classical Greek sculptor Phidias, Michelangelo, and Auguste Rodin. Chinese. Now he was ready to produce the trans-national works that
But how, he wondered, could he successfully combine the art of earned his reputation as China’s greatest figurative painter.
East and West? Xu began with the fundamentals: he firmly believed that Baimiao is not only the key Chinese line drawing method used
true artists must master drawing in order to express their ideas. He had for modeling, it is also a genre of painting. Unlike Western drawing, in
(ABOVE) Tian Heng and His Five Hundred Warriors,
1928–30, oil on canvas, 77 /1/2 x 137 1/2 in.
(LEFT) Awaiting the Deliverer, 1930–33, oil
on canvas, 90 1/2 x 125 1/4 in.
he introduced Western ideal forms to

Chinese ink painting and changed the
image of Chinese men in traditional
art. Its subject matter comes from real
life. Xu’s inscription tells us that the
Double Nine Festival (Chongyang jie)
is beginning: “While I was traveling on
the Li River in a boat, I saw a boatman
as strong as Hercules of Greece. This
was the first time in my life I ever saw
such a strong Chinese man. Therefore,
I created this painting.” The story is
from modern China and the materials
are traditionally Chinese, but the key
inspiration comes from Xu’s admira-
tion of idealized bodies in ancient
Greek sculpture. Here we do not find
artificial artistic limitations imposed by
political boundaries, but rather ideal-
which many different materials may be used, baimiao is drawn exclu- ized images of a healthy, even magnificent, trans-national masculinity.
sively with inks on xuan (rice) paper. The earliest figurative baimiao Xu was the first Chinese artist to use such realism in inks, but also
was painted by Gu Kaizhi (344–406 AD), a famous artist of the Eastern in oils. His trans-nationalism in this medium was first manifested in
Jin Dynasty. Later artists added new skills to develop the subtlety of Slave and Lion, created in Paris in 1924 and inspired by one of Aesop’s
line for which baimiao is renowned. In the 17th century, however, figu- Fables, “Androcles and the Lion.” Here Xu used all of the techniques he
rative baimiao painting reached a state of maturity and perfection that had learned at the École Nationale Supérieure des Beaux-Arts to tell the
never changed thereafter. famous story of a slave’s encounter with a lion afflicted by the thorn stuck
In his homeland, Xu’s combination of Western drawing and in his paw. Overcoming his fear, the slave extracts the thorn. Years later,
baimiao was seen as radically fresh and also deeply controversial. he is thrown to lions in the arena, where that same cat gratefully remem-
His extremely large Boatmen (1936) is a dramatic example of how bers his help and so does not hurt him. With its themes of compassion and
faces to tell historical stories. In Awaiting the Deliverer (1930–33), Xu
The Foolish Man Who Removed the Mountains, 1940, oil on canvas, 82 1/2 x 181 in. boldly depicted a woman with her breasts exposed as she nurses a baby;
the crowd around her includes a naked man and many partially dressed
people. Here again, such a scene had never appeared in Chinese art before.
cooperation, this tale relates closely to the Confucian education Xu had The Foolish Man Who Removed the Mountains (1940) is another
received in childhood. For him, kindness was an essential part of human gigantic oil based on an allegory related by Lie Zi (450–375 BCE), a
nature. The artistic and historic value of Slave and Lion is enormous, and scholar of the Warring States period. This fable describes 90-year-old
so is its economic value. In 2006 it was sold in Hong Kong for HK$53.9 Yugong, who decides to have a team of workers remove two moun-
million (US$6.9 million), then a world record for any Chinese painting. tains that block the view from his front door. Undaunted by the task’s
Xu’s Sound of the Flute (1926) depicts his second wife playing a xiao, impossibility and determined to keep digging despite his age and frailty,
the bamboo flute associated with the Tang Dynasty (618–907 AD). Except Yugong refuses to stop until he has attained his goal. Eventually his per-
for her realistic face and hands, the figure is painted with broad, general- severance impresses the emperor of heaven, who proceeds to move the
ized brushstrokes, and in the background Xu employs yijing ( ), which mountains out of the way.
has been used by Chinese landscapists since the Song Dynasty (960–1279 This story is Chinese, but the painting’s style is Western. The labor-
AD). This entails abstract brushwork to suggest the environment, allow- ers’ stretching and contracting muscles brought a new kind of physical
ing viewers to interpret and imagine the image’s meaning for themselves beauty — including full nudity — to Chinese painting. In particular, the
while emphasizing the integration of man and nature. In other words, taut, straining flesh of the big-bellied man and the tense muscles of the
the beauty of this painting is not to be seen with human eyes as much younger crouching man were inspired by Greek sculptures and High
as perceived and experienced by the human heart. Sound of the Flute Renaissance artists, especially Michelangelo.
encourages us to imagine the instrument’s graceful sounds swirling in Xu was undeniably a man of courage, and his innovative spirit was
the air; the vague, atmospheric background transports us to a faraway, the pride of forward-looking Chinese people from the 1920s onward.
mysterious realm. In this regard, Xu was partly influenced by the Flem- His students went on to become the nation’s leading artists, making
ish Baroque painter Jacob Jordaens (1593–1678); in fact, he painted a important contributions to figurative art in their own right. Today, of
small copy of that Old Master’s Allegory of Fertility (Royal Museums of course, there are many cross-cultural artists who connect China and
Fine Arts, Brussels) in the same year he created Sound of the Flute. the West, but in the first four decades of the 20th century, Xu Beihong
was their forerunner. His trans-national artworks are not simply com-
MATURITY binations of Western and Chinese aesthetics, but evidence of his unique
Xu’s mature work encompasses trans-national works in both oils and inks. imagination and technical virtuosity. His accomplishments challenge
Tian Heng and His Five Hundred Warriors (1928–30) is a spectacular and all artists to consider what can be learned from other cultures, how we
characteristically enormous example based on a story in The Records of can best use art to reflect and enhance our global situation.
the Grand Historian, authored by Sima Qian during the Han Dynasty (202
BCE–220 AD). This tale highlights General Tian Heng and his 500 men,
who refuse to surrender after a defeat in battle, instead killing themselves Information: All images illustrated here are by Xu Beihong and, with the
with their own swords rather than bearing the shame of defeat. Xu used exception of Slave and Lion, are in the permanent collection of the Xu Beihong
this story to praise the indomitable spirit of heroes who prefer death to Memorial Museum in Beijing. Its excellent website is in Chinese only (http://
disgrace. Tian wears a red robe, throwing his head back as he bids a solemn www.xbhjng.com/web/index.html).
farewell to his soldiers. Red is the favored color of the Chinese nation and a
symbol of its spirit — first seen in Tang Dynasty tomb paintings made 1,500
years ago. Here, the unyielding hero is idealized, just as his noble counter- AIHUA ZHOU PEARCE, PH.D. teaches drawing at California Lutheran
parts in Western artworks are. China had never seen a painting like it. University. She earned a Ph.D. in art history and visual culture from the Uni-
In this and other masterworks, Xu demolished the boundaries of tra- versity of Exeter (England), where her dissertation focused on Xu Beihong’s
ditional Chinese painting by uniting Western idealized bodies with Chinese paintings of idealized men.
BY DANIEL GRANT
I N S I D E T R A C K
DISCOUNTING
THE ART WORLD’S
OPEN SECRET
A
ppliance stores have sales, car dealerships have
sales, clothing stores have sales, but “art galler-
ies really don’t have sales. They offer discounts,”
says Frish Brandt, director of San Francisco’s
Fraenkel Gallery. There is a list price for each
artwork at Fraenkel, but it is rare indeed that anyone actu-
ally pays it.
Those discounts can be substantial — five or 10 per-
cent, sometimes more, depending upon who the buyer is, if
the buyer promises to donate the work to a museum (and
which museum), how many works are being purchased at
one time, and how sought-after the works are. Or, just how
much the gallery could use some money right now. (“Look,”
Roland Augustine, co-owner of New York City’s Luhring
Augustine, says. “I have 18 people working for me and 15
artists that the gallery represents, so I need to perpetuate
cash flow for all of them to get paid.”)
Consider discounts in the art world an open secret,
one that dealers are loath to discuss — in fact, most dealers
consulted for this article would not respond — but accept
as a natural part of doing business, particularly when there
is an economic downturn. “Every work is discounted,” says
the New York City-based dealer of American art Debra
Force. “I can’t think of an instance in a long time where
someone paid the asking price.”
Technically, most dealers are not lowering their prices,
as “that’s bargain-basement mentality,” Manhattan art
EVERETT RAYMOND KINSTLER (1926–2019), Portrait of Algur H.

Meadows, 2001, oil on canvas, 50 x 48 in., Meadows Museum, Southern
Methodist University, Dallas, gift of the Meadows Foundation, MM.01.02,
photo: Michael Bodycomb
PABLO PICASSO (1881–1973), Le Rêve, 1932, oil on canvas, 51 x 38 in., collection of Steven
A. Cohen, photo: Art Resource, New York © 2021 Estate of Pablo Picasso / Artists Rights
Society (ARS), New York
the owner of the work. We set the price with the owner. As honest brokers,
we will convey every offer from customer to owner, and sometimes, when
asked, we’ll make a recommendation either way. If we do, the owner can
accept or reject our advice and the offer, as he or she wishes.”
Other gallery owners believe that works on the secondary market
already have established a fair market value, which would limit the amount
of a discount, while sales of pieces on the primary market — especially those
by less established artists — need to be encouraged with greater financial
incentives, sometimes with price breaks exceeding 15 percent. Or perhaps
it isn’t so much the artist who is new to the market as the prospective buyer
who is new to the gallery: the opportunity to turn a prospect into a regular
customer may compel the dealer to sweeten a deal.
Dealers all have stories of buyers who must pay less than the stated
price. Algur H. Meadows (1899–1978), the Texas oilman who gained
renown for buying a vast number of Old Master fakes, boasted of his abil-
ity to pay half or less of the going price. In the 1960s he told a newspaper
reporter, “They’d come down here with a Modigliani for $100,000, which
I knew was the selling price anywhere. The next day they asked $75,000
and I told them to take it away. ... Two or three weeks would go by. They
kept telling me they had to leave town. Well, I said, I haven’t asked you to
stay. If you want to sell it to me, I’ll give you $45,000. They took it.” (The
laugh turned out to be on Meadows: when he tried to sell some of his mod-
ern paintings, they were found to be fakes.)
Then there are occasional buyers who only want to pay top dollar.
In 2013, the financier Steven A. Cohen purchased Picasso’s 1932 painting
Le Rêve from casino owner Steve Wynn for $155 million, then the highest
price paid by a U.S. collector for an artwork. Back in 2006, Cohen had
planned to purchase it for a “mere” $139 million, but Wynn accidentally
tore the canvas by jutting his elbow into it. After its restoration, Cohen
could have negotiated for a lower price based on the damage, but not
dealer June Kelly says; rather, they are increasing their discounts. “If everyone is looking for bargains.
someone who really wants a piece is ready to write a check,” Kelly adds,
“I’ll try to satisfy them by taking a little extra off.”
THE DANCE
There is a certain pas-de-deux aspect to the dealer-buyer conversation
regarding discounts. A prospective or, better yet, a past client comes into
the gallery and announces that he is interested in a specific painting. He
asks, “What is the price?” The dealer names the price, and the client
replies, “Can you help me out with that?” or “What can you do for me?”
Frish Brandt says some buyers may suggest that they also are considering
other pieces in the gallery, or that they are struggling to afford the stated
price. Both suggestions are lead-ins to the subject of a price reduction.
Debra Force notes that some of her conversations are gentle and
roundabout. “I might get told, ‘I have a perfect place for it, but I can only
afford so much,’ and I’ll say, ‘There is flexibility.’” But some are go-for-the-
jugular: “People ask if I own the work or if it is on consignment. If I own
it, they expect more of a discount because they assume I could use the
money.” For works on consignment, however, buyers “can put themselves
in the position of the consignor” and assume that the latter isn’t about to
give away the store.
Robert Fishko, owner of New York’s Forum Gallery, notes there may
be differences in the availability and degree of discounting for works on
the primary and secondary markets. On the primary market, discounts may
extend up to 10 percent. “If we can give some payment terms or do some-
thing else to make the sale happen — deliver and install the work ourselves,
for example — we will do our very best, because we see our job as helping
make it possible for people to acquire works of art they love, not to stand in An art fair’s last day often sees collectors demanding deep discounts; photo © Rebecca
the way,” Fishko explains. However, he continues, “in the secondary mar- Smeyne
ket, there are no rules, and the gallery’s responsibility is solely to represent
BARBARA ERNST PREY (b. 1957), Twilight, 2005,
watercolor on paper, 19 x 28 in., private collection
It is not at all clear that lowering prices increases demand. Economists for it”), disregarding the list price entirely. Demands for discounts grow
refer to this in terms of the “elasticity of demand” — demand shrinks or louder on the last day, or in the final hours, of an event. “It’s very predatory,”
expands with higher or lower prices — but “demand for art is probably not says Alan James Robinson, a watercolorist in Easthampton, Massachusetts,
elastic,” according to John Silvia, former chief economist for Wachovia and who has taken part in various fairs and festivals. “People see someone from
currently head of his own Charlotte-based firm, Dynamic Economic Strat- across the country, and they go to that artist at the end of the show, saying,
egy. He notes that lowering the price for less expensive consumer items ‘Give me an extra 30 or 40 or 50 percent off, and I’ll take the whole wall.’” In
“brings people into the store, but if you have a product that is fairly unique some cases, the artists will take that deal because the costs of packing and
or distinct, like art or jewelry, the answer is no, you don’t lower the price.” shipping the art home may offset the income lost by granting the discount.
In a prestige realm such as art, cutting prices — “a painting that last week Early in Barbara Ernst Prey’s career, a man came up to her where she
was selling for $40,000 is now for sale for $30,000,” Silvia speculates — could was selling her paintings. “He looked me straight in the face and said he
have an adverse effect. Gallery owners who do slash prices risk “alienating would pay me $1,000 less than the listed price,” she recalls. “I said no, and
two customers: you alienate anyone who bought from you in the past and now he said to me, ‘So, you’re going to walk away from a sale?’” As it turned out,
thinks he was cheated, and you create a doubt in the minds of future buyers Prey eventually sold that painting for the full price, but her stance took
about any work you sell. They wonder, ‘Am I being cheated now?’” fortitude, self-confidence, and, perhaps, not being desperate for money.
Lowered prices may actually make potential buyers reluctant to act, There are some exceptions in all this discounting. Dealers may prove
assuming prices will decline even further. Cutting the price of artworks less amenable to discounts on works that are modestly priced to begin
similarly may convince collectors they should await a bottoming-out. “Price with — for instance, on a $500 print. Some artists’ work is so sought-after
is a signal of quality and of your commitment that this is good art,” says that there is a waiting list for new pieces; collectors who spend too much
Gerald Friedman, an economics professor at the University of Massachu- time dickering over the price will be passed over for the next buyer on
setts. “If you cut the price, it sends a signal that this is not a desirable prod- the list. Art that is quite rare — if there are just a few works remaining in
uct. If you are an investor, cutting the price is a sign that no one is going to a renowned artist’s estate, or if an artist produces only a few pieces each
buy it in the future.” If someone wants to buy work by a particular artist, year — may be less subject to discounting, too.
he declares, they will pay the going rate, rather than switch to other artists. Whatever the scenario, discounting will surely remain in the art
world for years to come. The primary challenge for all parties, then, is
ARTISTS UNDER PRESSURE managing it — and expectations — as best one can.
The people who experience the greatest number of demands for discounts
are artists themselves, particularly those who sell directly to the public at
fairs or from their studios. Some artists report that prospects will walk onto DANIEL GRANT is the author of The Business of Being an Artist and other books
their stand and simply name the price they will pay (“I’ll give you $2,500 published by Skyhorse Press.
GREATART E V E N T S
P R E V I E W
NATIONWI
VIRTUOSITY WITH HUMOR detail. Many of them riff wittily on the motifs
seen in traditional still life paintings. Illus-
trated here, for example, are two dead rabbits
ANA DE ALVEAR (hares). In an Old Master scene these would
normally be hanging in a kitchen, ready to be
San Diego Museum of Art skinned and cooked. Alvear’s rabbits, how-
San Diego ever, are stuffed toys more likely to evoke our
sdmaart.org memories of the mass-produced prizes we
through September 27 won in a carnival ring-toss.
In 2006, Alvear founded Vital Inter-
national Video Art, a traveling exhibition
The photorealistic drawings created by the through which artists worldwide can find a
Madrid-based artist Ana de Alvear (b. 1962) meeting point for intellectual discourse and
are rarely seen in the U.S., just one reason the create a network with curators, galleries,
San Diego Museum of Art’s current show is foundations, and private collectors.
so welcome. Titled Everything You See Could
Be a Lie, it demonstrates how Alvear plays
with the ambiguities between reality and its
representation.
SDMA curator Anita Feldman has ANA DE ALVEAR (b. 1962), Two Hares (Dos Liebres),
selected more than 20 works executed in 2014, colored pencil on paper, 38 3/4 x 27 in.,
colored pencil on paper, two of them wall- collection of the artist
sized, and all made by hand in incredible
LOOKING NORTH
HUGO SIMBERG (1873–
1917), Spring Evening,
AMONG FORESTS AND LAKES Ice Break, 1897, oil on
canvas, 10 2/3 x 14 1/2 in.,
National Nordic Museum Finnish National Gallery
Seattle / Ateneum Art Museum,
nordicmuseum.org Helsinki, photo: Hannu
through October 17 Aaltonen
The National Nordic Museum (NNM) is the

only North American venue for Among For-
ests and Lakes: Landscape Masterpieces from
the Finnish National Gallery, an exhibition co-
organized by NNM and Helsinki’s Ateneum
Art Museum.
It offers a rare opportunity to see paint-
ings, prints, and even video art created by Fin-
land’s finest artists, few of whom are much reveal how Finnish landscapists have helped This project has been co-curated by
known in the U.S. They include Fanny Chur- form their young country’s sense of itself. The NNM deputy director Leslie Anderson with
berg, Albert Edelfelt, Akseli Gallen-Kallela, terrain represented spans 800 miles, from Hanne Selkokari and Anu Utriainen of the
Marja Helander, Eero Järnefelt, and Hugo the Baltic coast heading north to the Arctic Ateneum. On August 14, Prof. Michelle Facos
Simberg. Together more than 50 scenes dat- Ocean, even encompassing works related to (Indiana University) will present a lecture on
ing from the mid-19th century through today the nomadic Sámi people. Nordic women artists.
ART ON A MISSION
RENÉE BEMIS (b. 1958), Looking
for Water, 2018, bronze (edition
ART THAT MATTERS TO THE of 12), 17 x 13 x 17 in.
PLANET
Roger Tory Peterson Institute

Jamestown, New York
societyofanimalartists.com and
rtpi.org
August 14–October 25
Recent works by members of the Society of Ani-

mal Artists (SAA) will soon be on view inArt That
Matters to the Planet. This exhibition illuminates
the beauty of nature while challenging visitors
to ponder such pressing environmental issues as
climate change and habitat loss. Whether they
are direct or indirect, subtle or confrontational,
lighthearted or deadly serious, the participating
artists aim to spark meaningful conversations
and move us to protect the animals we love.
Illustrated here, for example, is Renée
Bemis’s sculpture Looking for Water, which
shows a crab ensnared by modern detritus. She
notes, “For years, we have been polluting our
oceans at a rapid rate, and the three plastics
most commonly thrown into the waters with
complete disregard are water bottles, straws,
and fishing line.” and finally the Sternberg Museum of Natural sharing our planet, and to public education
After the show closes at the Roger Tory History (Hays, Kansas). through exhibitions, lectures, and demonstra-
Peterson Institute, it will move to the Hiram Founded in 1960, SAA is devoted to pro- tions. Its membership represents a veritable
Blauvelt Art Museum (Oradell, New Jersey) moting excellence in the portrayal of creatures who’s who of animal artists worldwide.
MIND THE GAPS
DISRUPTED REALISM
Stanek Gallery
Philadelphia
stanekgallery.net
July 2–August 14
Philadelphia’s Stanek Gallery has been a pio-

neer in the art world’s recent embrace of “dis-
rupted realism,” a term coined in 2018 for its
groundbreaking exhibition and then elabo-
rated in art historian John Seed’s equally inno-
vative book Disrupted Realism: Paintings for a
Distracted World (2019, Schiffer Publishing).
Today dozens of artists are working in this
mode worldwide, with a high number based in STANKA KORDIC (b. 1962), Air
or near Philadelphia. of Mind, 2021, oil on cradled
Now Stanek has organized Disrupted birch panel, 24 x 24 in.
Realism: Reimagining the Figure, a show of
recent paintings by Jacqueline Boyd, Martin
Campos, and Stanka Kordic. These artists are “remind us that intrigue and beauty can be
challenging traditional definitions of figura- found in those spaces in between,” an allusion
tion by imbuing their scenes with evocations to the fact that we are more dependent than
of emotion, dreams, and imagination. Gallery ever on virtual experiences to maintain our
principal Katherine Stanek says their works connections with each other.
BEYOND THE SUBLIME
KEN SALAZ: ON WALDEN
Galerie d’Orsay
Boston
galerie-dorsay.com
July 15–August 5
Galerie d’Orsay is set to exhibit Ken Salaz’s

recent paintings of Walden Pond, which
is located in Concord, Massachusetts, and
closely associated with the Transcendental-
ist writer Henry David Thoreau’s two-year
stay there in the 1840s. On view will be works
made in plein air and others finished back in
the studio.
Gallery co-director Kristine Feeks Ham-
mond recalls that her first meeting with Salaz
involved “a hike at Walden Pond. I met him
mid-morning at the water’s edge, though he
had arrived at daybreak to study the reflec-
tions, the curve of lines where the earth
meets water. Ken’s connection to this place a human being.” He continues, “No serious
and all the history it represents is self-evident pursuit of the craft and artistry of painting KEN SALAZ (b. 1970), Sunflare, Walden, 2021, oil on
in the quiet sublime of his paintings.” can leave a person indifferent to the mysteries Belgian linen, 30 x 40 in.
A resident of the Hudson River Valley — and wonderment of the world around and
where many 19th-century artists viewed the within us. In an age where the idea of having a
landscape through the lens of spirituality ‘noble pursuit’ is vanishing, I feel it is impera- why we are here, and how we can live for the
— Salaz adds, “Each painting is an expression tive to the world and humanity today to create betterment of humanity. These paintings are
of how nature and light in the landscape can artwork without apology that strives toward a mirror reflection of our joys, sorrows, and
embody the sublime union of spirit and mat- harmony, truth, and beauty. My paintings are triumphs as human beings, and they strive to
ter, as well as their transformation within created to evoke the questions of who we are, evoke the finest in the viewer.”
THE GOLDEN
STATE’S FINEST ADRIAN GOTTLIEB (b. 1975),
Darwin Falls, 2020, oil on panel,
110TH ANNUAL GOLD MEDAL 36 x 36 in., collection of the artist
EXHIBITION
Hilbert Museum of California Art

Orange, California
californiaartclub.org and
hilbertmuseum.com
July 10–August 14
The California Art Club (CAC) is bringing the

110th edition of its annual Gold Medal Exhibi- “paint/sculpt-out” in down-
tion to Orange County for the first time. This town Orange on the show’s
juried showing of more than 160 paintings and closing day, health condi-
sculptures — ranging from landscapes and sea- tions permitting. The entire
scapes to still lifes and figurative works — will exhibition will also be view-
grace the Hilbert Museum of California Art at able on the club’s website.
Chapman University. The Hilbert was meant The Hilbert Museum
to host the show’s 109th edition last year, but, opened its doors in 2016
like so many events, it was transferred online. thanks to the generosity
The CAC calls this art “contempo- of philanthropists and col-
rary-traditional” and emphasizes the time- issues facing society, among them the envi- lectors Mark and Janet Hilbert of Newport
honored techniques used by these artists, ronment and cultural diversity. Coast. The permanent collection encom-
be they well-established or up-and-coming. Admission is free to all, as are the series passes 20th- and 21st-century oils, water-
Although the show has no overarching theme, of virtual tours with museum director Mary colors, and drawings depicting everyday life
many of the works offer commentary on Platt and various exhibiting artists, plus the in the Golden State.
ART IN
THE WEST
SUMMRIM
BIG TALENT AT
BCKONS
BIG HORN
BIG HORN, WYOMING

thebrintonmuseum.org
July 10–August 21
The Brinton Museum is set to host its pop-

ular Bighorn Rendezvous Quick Draw and
Gala on August 21. Works by the Quick Draw
participants will have been on view since
July 10; this year’s cohort are Chula Beaure-
gard, Bye Bitney, Jake Gaedtke, Carol Guz-
man, Jim Jackson, T.D. Kelsey, Julie Oriet,
Gregory Packard, Jordyn Payne, John Potter, T. ALLEN LAWSON (b. 1963), Black Angus, 2017–19,
Chessney Sevier, and Kathryn Mapes Turner. graphite, Graphitint, carbon, oil pastel, and watercolor on
The museum is presenting three solo watercolor paper mounted on aluminum, 59 1/2 x 97 in.,
exhibitions this summer. On view through available through the artist
September 6 is Recollections and Reflections,
which surveys T. Allen Lawson’s brilliant
39-year career while offering several new (and Also on offer (July 10–September 5) is Award in 2019. Running August 1–30 is a
available) works. Born and raised in Sheridan a show devoted to the drawings and paint- separate exhibition focused on Jim Jurosek,
— nine miles from the museum — the artist now ings of Robert Martinez (Northern Arapaho), who started his career as a physics teacher
splits his time between Wyoming and Maine. who received the Wyoming Governor’s Arts and now creates large abstract paintings.
SCULPTURE & COMMUNITY 160 sculptors offering more than 2,000 pieces.
Their range has grown from primarily rep-
resentational Western bronzes to include
LOVELAND, COLORADO abstract and everything in between — in
sculptureinthepark.org bronze, stone, wood, ceramic, glass, and metal.
August 7–8 Its success has fostered the Benson Sculp-
ture Garden, where the festival is held, and also
the Loveland High Plains Arts Council, which
Over drinks one evening in 1984, the artists has purchased 172 sculptures to adorn the Ben-
George Walbye, George Lundeen, Dan Oster- son. The “Take Home a Piece of the Park” tent
miller, Hollis Williford, and Fritz White envi- features maquette-sized editions of some of the
sioned a festival that would raise the funds sculptures on display in the garden.
needed to build a sculpture garden for the city of Tickets to the Patron Party on August
Loveland, Colorado. Developed with the munic- 6 may be purchased for $75 per person. In
ipal government, the Chamber of Commerce, addition, a silent auction tent will be open all
and other interested citizens, their festival weekend, featuring works by various exhibi-
launched in 1984 with 50 artists participating. tors available for bidding by any visitor.
Now celebrating its 37th anniversary,
the Sculpture in the Park Show and Sale has MARLYS BODDY (b. 1945), Samurai, 2020, ceramic,
become America’s largest outdoor juried 15 x 9 x 7 in.
sculpture show: this year’s edition will involve
BEST OF THE WEST
RENO, NEVADA
cdaartauction.com
July 31
The 36th annual Coeur d’Alene Art Auction

is set to occur at Reno’s Grand Sierra Resort.
Over the past 15 years, this event has generated
more than $300 million in sales of top-quality
paintings and sculpture reflecting the Ameri-
can West. It holds over 160 world record prices,
with 96 percent of all lots sold on average.
On offer will be works by such historical
masters as Oscar Berninghaus, Albert Bier-
stadt, Eanger Irving Couse, Leon Gaspard,
Peter Hurd, Frank Tenney Johnson, Grandma
Moses, Edgar Payne, Frederic Remington,
Joseph Sharp, and Walter Ufer. A rare oil paint-
ing by Charles M. Russell, Roping a Wolf, will
headline the sale. Once in the collection of the
Amon Carter Museum (Fort Worth), it has
never been to auction and carries an estimate
of $1,000,000–$1,500,000. Thirty bronzes
created by the great sculptor Harry Jackson
(1924–2011) are being sold by California State
University, Northridge
Among the contemporary artists repre-
sented are Michael Dudash, Martin Grelle,
Z. S. Liang, and Bonnie Marris. Also on offer is
Thomas Blackshear II’s painting The Mighty
Wind (estimate $25,000–$35,000), which
graced the cover of The Killers’ 2020 single WALTER UFER (1876–1936), Greasewood and Sage, n.d., oil on canvas, 25 x 25 in., estimate $300,000–$500,000
“My Own Soul’s Warning.”
LOOKING BACK,
LINDA TIPPETTS (b. 1943), Thunder Bundle,
AND FORWARD
2004, oil on canvas, 24 x 30 in., private collection
KALISPELL, MONTANA
hockadaymuseum.org
August 6–October 31
The Hockaday Museum is poised to present a

retrospective of 50 paintings created by Linda
Tippetts. Titled Roads Well Traveled (Some Were
Gravel), it surveys this Montana artist’s accom-
plished career since 1984, borrowing her best
works from generous collectors across America.
Born and raised in rural north central
Montana, Tippetts traces her interest in
art to 1963, when she entered the famous
“Draw Me” contest advertised in The Sat-
urday Evening Post. Her success at the first
annual C.M Russell Exhibit and Auction
(Great Falls, 1969) awakened her to the fact
that she could make a living as a professional
artist, and another window opened when
she joined the Plein Air Painters of America
in the mid-1980s. Her penchant for paint- Particularly significant is her respect recollections of a thunderbundle ceremony,
ing outdoors has taken Tippetts all over the for Native American culture, especially the held inside double-hitched tipis that allow
world, but more recently she has returned to Blackfeet Nation, whose members have more people to attend.
the East Slope of the Rockies — a place she invited her to observe various ceremonies.
now sees with renewed appreciation. Illustrated here, for example, is one of her
CROSS-CULTURAL GEORGE CATLIN (1796–1872), North
ENCOUNTERS American Indians (Plate 1 in the
North American Indian Portfolio),
PHOENIX 1844, hand-colored lithograph on
heard.org paper, 17 1/2 x 13 in., Heard Museum,
through Summer 2022 gift of Laura and Arch Brown
The Heard Museum’s current exhibition,

George Catlin on Indigenous Land, features
selections from an 1844 portfolio of 25 hand-
colored lithographic plates, donated recently
by the collectors Laura and Arch Brown.
A self-trained artist who had prac-
ticed law for two years, George Catlin made
five trips through the West between 1830
and 1836, producing the single largest pre-
photographic record of its indigenous peo-
ples. Ultimately, he painted more than 300
portraits of people from nearly 40 tribes,
as well as 175 landscapes and many scenes
depicting customs and daily life.
Catlin was respectful of the people who
posed for him, though he never shared the
profits he made while exhibiting and pub-
lishing his “Indian Gallery” throughout the
U.S. and Europe. In fact, he repeatedly faced
financial hardships, including a jail term for
indebtedness in London, where these particu-
lar lithographs were printed.
41 AND COUNTING
CHEYENNE, WYOMING
cfdartshow.org
oldwestmuseum.org, cfdrodeo.com
July 22–August 15
The 125th annual Cheyenne Frontier Days Cel-

ebration will encompass many events — not
only the world-famous rodeo but also the 41st
Annual Western Art Show & Sale. Since 1981,
this program has raised more than $3 mil-
lion for the Cheyenne Frontier Days Old West
Museum, where it is held.
On offer will be recent works by artists
who highlight the people, places, and stories
of the West. Among this year’s exhibitors are
Brandon Bailey, Teal Blake, Jeremey Bradshaw,
Colt Idol, Jennifer Johnson, Joel Johnson, Gail
Sundell Jones, Andy Mast, Chris Navarro, Dus-
tin Payne, Renee Piskorski, D. Michael Thomas,
and Carrie Wild.
Guests at the opening reception on July CHRIS NAVARRO (b. 1956), Teton Tom, 2020, bronze, 9 x 14 x 5 in.
22 will enjoy first crack at these artworks;
this event includes dinner, open bar, a recep-
tion at the Governor’s residence, live music,
and more.
The museum traces the history of the rodeo
and features an extensive collection of carriages.
Launched in 1897 and held the last full week of
July, the rodeo draws top professionals compet-
ing for more than $1 million in prizes.
O F F T H E
W A L L S
A RT I ST S & G A L L E R I E S sculptures and paintings were imported from Spain,
but soon the church set up guilds and workshops to
train indigenous artisans. Illustrated here is a previously
unpublished portrait of the poet Sor Juana — the only
known extant image created while she was alive.
The main entrance of Sotheby’s New York
New York City

artrenewal.org and sothebys.com The dedicatory plaque
July 16–26
Nearly 100 artworks that emerged as winners and
high-ranking finalists in the 15th International ARC Salon Student Jesse Reyes “pours”
Exhibition will soon hang in glory at Sotheby’s. The Art the mural’s watering can.
Renewal Center (ARC) has long presented this popular
show online, and now it will be enjoyed in person. The
works were juried in from 4,941 entries submitted from
83 countries. During the exhibition run, Sotheby’s will
conduct an online auction of 28 works from the Salon.
Richard Estes (b. 1932), Ngorongoro Crater I, 2015, oil

on panel, 13 3/4 x 11 7/8 in.
New York City

msfineart.com
through July 30
With all of us aching to travel again, the Menconi + Sch-
oelkopf gallery is wise to celebrate its new relationship
with the great American photorealist Richard Estes by
presenting Voyages, an exhibition of 31 paintings he has in December 2019 at 54. Creation of the new mural,
made during his world travels, and also in his beloved plaque, and garden was guided by his partner, the artist
New York City. Among the moments captured are touch- Dean M. Larson. Painted on a wall of Ibarra’s kindergarten
ing down at Copenhagen’s airport, approaching Antarc- classroom is a colorful mural in which the late teacher
tica by sea, stepping aboard the New York subway, and — characteristically seen running with a book in hand —
admiring landscapes in New Zealand, Nepal, Tanzania, entices youngsters to find all 26 letters of the alphabet.
and Tahiti. Photos: Pete Litwinowicz
It’s a big year for the 89-year-old: a separate exhibition
of 45 Estes paintings will open on September 10 at the
artist Damien Hirst’s Newport Street Gallery in London. On May 27, Ayana Ross of Georgia won the 2021 Bennett
Anonymous (Mexico), A First Portrait of Sor (Sister) Juana Prize, the largest award offered solely to women figurative
Inés de la Cruz at the Age of 25, 1673, oil on copper, OUT & A BOUT painters. Her triumph was announced at Michigan’s Musk-
4 1/2 x 3 1/2 in., on view at Colnaghi London egon Museum of Art (MMA) during the opening of the Rising
Voices 2: The Bennett Prize exhibition, which runs through
New York and London September 5. Leading the festivities were San Antonio
colnaghi.com
July 2–September 10
Colnaghi Gallery is presenting Discovering Viceregal Latin
American Treasures, the first commercial exhibition on
this topic staged on such a large scale. At Colnaghi’s
locations in New York and London will be more than
100 paintings, sculptures, textiles, and objects from the
17th and 18th centuries, along with Pre-Columbian and The entire mural
modern works from the region. The checklist has been
assembled with the Montevideo-based expert Jaime On June 5, 34 miles southeast of downtown San Fran-
Eguiguren, and all works can be examined via the virtual cisco, family and community members dedicated the
reality tour on Colnaghi’s website. José Iván Ibarra Garden, named for the beloved dancer,
Dr. Elaine Melotti Schmidt, Ayana Ross, and Steven A.
As the Spanish began colonizing Latin America, art artist, and teacher who worked in the Ravenswood City
Bennett in front of Ross’s painting SWBAT: Learn
became a powerful tool for the Catholic Church. At first, School District for 23 years. Ibarra died unexpectedly
M USEU MS
Schmidt, Aneka Ingold, and Bennett before Ingold’s

painting Live and Let Live
collectors Steven Alan Bennett and Dr. Elaine Melotti George L. Stout
Schmidt, who established the prize in 2016 by endowing
a $3 million fund from which it is awarded every two years.
Also on hand were MMA executive director Kirk Hallman The new 81-minute documentary Stout Hearted: George
and director of collections Art Martin. The museum was Stout and the Guardians of Art tells the story of George
chosen to host the exhibition because of its longstanding L. Stout (1897–1978), an art student from Winterset,
commitment to both women artists and realism. Iowa, who led the Monuments Men during World War II.
Ross will be awarded $50,000, giving her the oppor- This now-famous military unit was tasked with retrieving
tunity to create new figurative realist pieces for a solo stolen art from the Nazis. The film goes on to explore
exhibition that ultimately will travel the country. Her work Stout’s pioneering efforts in art conservation, which
Claude Monet (1840–1926), Portrait of the Artist’s
explores identity and cultural awareness in the everyday elevated that discipline into a modern science. Many of Son, Jean, 1869, oil on canvas, Bemberg Collection ©
lives of African Americans in the South. his innovations are used today to preserve masterworks RMN–Grand Palais, photo: Mathieu Rabeau
The MMA exhibition also features works by the first from deterioration. Today, the U.S. Committee of the Blue
Bennett Prize winner, Aneka Ingold of Tampa, who was Shield continues the work of Stout and the Monuments
named in 2019. She has spent the last two years working Men by protecting cultural heritage globally. The film was Houston
on paintings that represent what the museum organizers directed by Kevin Kelley and produced by Marie Wilkes mfah.org
call “a profoundly transformative time, of life upended and for New Mile Media Arts and is distributed by Heritage through September 19
redefined, and a woman transfigured by her journey.” Also Broadcasting Service. For details, visit newmile The Museum of Fine Arts Houston is presenting the exhi-
on display are works by the 10 women figurative realist mediaarts.org, heritagetac.org, and uscbs.org. bition Monet to Matisse: Impressionism to Modernism
painters named last fall as finalists for the second Ben- from the Bemberg Foundation. It celebrates the collection
nett Prize, including Ross. This year’s four-member jury assembled by Georges Bemberg and now housed in south-
included the figurative painters Alyssa Monks and Katie Crown recently ern France. Born in Argentina and raised in Paris, Bemberg
O’Hagan, as well as Warhol Museum director Patrick published a 208- (1915–2011) was a writer and pianist whose collection is
Moore and Steven Bennett. page book by George rarely exhibited elsewhere. It contains paintings, drawings,
For details, visit thebennettprize.org and muskegon W. Bush, 43rd and bronzes ranging from the 14th century to the 20th, with
artmuseum.org. president of the particular strength in French impressionism, pointillism,
United States, titled symbolism, and fauvism. Among the artists represented
B O OK S & FI L M S Out of Many, One: are Bonnard, Cézanne, Degas, Matisse, Monet, Morisot, Pis-
Portraits of America’s sarro, Redon, Renoir, Signac, Toulouse-Lautrec, and Vuillard.
In the early 1900s, Immigrants. The
American artists return- former president has
ing from Paris convinced immersed himself Vienna
Manhattan business- in making paintings, belvedere.at
men to invest in an arts many of which are through February 27, 2022
colony on Manhattan’s on view at Dallas’s
West 67th Street. George W. Bush Pres-
The resulting Hotel idential Center through January 3, 2022. In 2013, Bush Ferdinand Georg
des Artistes featured said, “Each generation of Americans — of immigrants Waldmüller
north-light studios, a — brings a renewal to our national character and adds (1793–1865),
salon ballroom, and an vitality to our culture. Newcomers have a special way of Self-Portrait as a
iconic cafe that became appreciating the opportunities of America, and when they Young Man, 1828,
oil on canvas, 37
home to creatives of all seize those opportunities, our whole nation benefits.”
1/2 x 29 1/2 in.,
kinds for much of the The new book illustrates his portraits of 43 men
Österreichische
20th century. (Today it is primarily expensive apartments and women representing many cultures. A portion of its
Galerie Belvedere,
owned by non-artists.) proceeds will benefit organizations that help immigrants photo: Johannes
In his well-researched 288-page book from Schiffer resettle, as well as the George W. Bush Institute’s work on Stoll
Publishing, Manhattan’s Hotel des Artistes: America’s immigration policy. For details, visit crownpublishing.com
Paris on West 67th Street, Robert Hudovernik uses and bushcenter.org.
more than 630 illustrations to tell this intriguing story.
His volume also contains a directory of the hundreds During the so-called Biedermeier era (1815–48), Aus-
of (fascinating) tenants who lived there from 1917 to tria’s monarchy cracked down on calls for democracy, so
2020. For details, visit hoteldesartistesbook.com and the burgeoning middle class retreated from the political
schifferbooks.com. sphere into their own households. Österreichische Galerie
Belvedere curator Rolf H. Johannsen sees parallels with on paper coming from the Hirschfelds. Ranging from the
society today, so he has organized the exhibition Better mid-19th through the 21st centuries, those were made
Times? Waldmüller and Biedermeier Vienna. Filling an by such talents as Isabel Bishop, Christo, Stuart Davis,
entire floor of the former palace are 107 paintings that Willem de Kooning, Keith Haring, Edward Hopper, Jacob
depict happy children, charming homes, and serene Lawrence, Georgia O’Keeffe, Norman Rockwell, Mark
country life, though darker themes appear, too. Rothko, and Andy Warhol.
At the checklist’s core is the Belvedere’s unrivaled
holdings of paintings by Ferdinand Georg Waldmüller,
and also by Friedrich von Amerling, Rosalia Amon, Carl
Blechen, Josef Danhauser, Caspar David Friedrich, Pauline
Koudelka-Schmerling, and Adalbert Stifter, among others.
The main staircase inside Joanna Fisher’s dollhouse;

photo: Jenna Bascom
Gerakaris, Rachel Lee Hovnanian, Ryan McGinness,

Tatyana Murray,Antonio Pio Saracino, Hunt Slonem, Darren
Waterston, and Dustin Yellin. Now the Museum of Arts &
Sedrick Huckaby (b. 1975), She Wore Her Family’s
Design is hosting the dollhouse’s public debut.
Quilt, 2015, oil on canvas, 24 x 18 in., photo: Gregory
Staley
Anonymous (Europe), Bird Dome, 1840–60, stuffed New London, Connecticut

birds, artificial flowers, glass, and marquetry, lymanallyn.org
14 1/2 x 9 x 6 in., Munson Williams Proctor Arts through August 22
Institute, museum purchase, 60.131
In the mid-1980s, the Atlanta postal service carrier Kerry
Davis began collecting art with his wife, Betty, a television
Utica, New York news producer. Their goal was to adorn their split-level
mwpai.org suburban home, but they ended up acquiring more than
through August 1 300 works by superb African American artists, many not
The Munson Williams Proctor Arts Institute has reached well known at the time. The Davises’ home has become
deep into its rich collections to organize the exhibition a meeting place for artists and collectors throughout the
More Than a Tweet: Birds, Art, and Culture. On view are South, and now Connecticut’s Lyman Allyn Art Museum is
22 paintings, works on paper, photographs, and decora- the only Northeastern venue to present a touring exhibi-
tive artworks — many not shown for decades — that tion of 62 highlights.
span the 19th and 20th centuries. For many reasons, On view are paintings, drawings, prints, and sculptures
birds have long fascinated artists and designers such as by such 20th-century masters as Radcliffe Bailey, Romare
John James Audubon and Georges Braque, so this show Bearden, Beverly Buchanan, Elizabeth Catlett, Ernest T.
delves into their use of avian motifs and the meanings Crichlow, Sam Gilliam, Loïs Mailou Jones, Jacob Lawrence,
associated with them. Gordon Parks, Alma Thomas, and Charles White. The tour
George Luks (1867–1933), Foggy Night, c. 1922–25, has been organized by International Arts & Artists of
oil on canvas, 30 1/4 x 25 in. Washington, D.C.
New York City
madmuseum.org New York City
through September 26 nyhistory.org New York City
During the COVID-19 lockdown, New York arts patron through August 1 metmuseum.org
Joanna Fisher got a bright idea. Inspired by Venice’s 15th- The New-York Historical Society is exhibiting the first four through October 11
century Palazzo Gritti, she commissioned a dollhouse artworks that Elie and Sarah Hirschfeld have pledged from The eminent Metropolitan Museum of Art curator Keith
from British set designer Holly Jo Beck and set to work their extraordinary collection of New York scenes. On view Christiansen is retiring soon, but not before co-organizing
decorating it. “While this was a solitary exercise,” Fisher areWilliam Merritt Chase’s The Boat Harbor (Gowanus Pier), — with Carlo Falciani of Florence’s Accademia di Belle Arti —
recalls, “it somehow brought me closer to people all over William Glackens’s Early Spring, Washington Square, J.H. the landmark exhibition The Medici: Portraits and Politics,
the world, creating its own social network, balancing out Twachtman’s Dredging in the East River, and the luminous 1512–1570. On view are more than 90 works, includ-
the isolation of this pandemic.” She proceeded to com- Luks illustrated here. ing outstanding paintings by Raphael, Pontormo, Cellini,
mission micro-artworks from such artist friends as Michele This show is a teaser for another one opening next and Bronzino, as well as sculptural busts, medals, carved
Oka Doner, Federico de Francesco, Veronica Gaido, Peter season; that will present all 130 paintings and works gemstones, drawings, etchings, manuscripts, and armor.
developing a unique aesthetic that shows the deep South Sacramento
as it is. Beyond Mitchell’s figurative works, landscapes, crockerart.org
and still lifes, it is the haunting scenes of run-down barns through October 3
and fallow fields that seem to resonate most powerfully. The Crocker Art Museum is the latest stop on the U.S. tour of
Made primarily in watercolors, these works evoke the For America: Paintings from the National Academy of Design.
many stories such forgotten sites still have to tell. Since its founding in 1825, the academy has required all
academicians to donate a representative work, and, from
1839 to 1994, its associates had to present a portrait of
Cleveland themselves (by themselves or someone else). Among the
clevelandart.org masters represented by the show’s 100 works are Thomas
July 1–September 19 Eakins, Winslow Homer, William Merritt Chase, John Singer
The Cleveland Museum of Art has opened the exhibition Pri- Sargent, Richard Estes, Lois Dodd, Andrew Wyeth, Maxfield
vate Lives: Home and Family in the Art of the Nabis, Paris, Parrish, Cecilia Beaux, and Wayne Thiebaud.The U.S. tour has
1889–1900. The Nabis were young artists inspired by Paul been organized by the American Federation of Arts.
Gauguin and the growing current of Symbolism in literature
and theater.Together,such talents as Pierre Bonnard,Edouard
Vuillard, Maurice Denis, and Félix Vallotton created an art
of suggestion and emotion — paintings, prints, and draw-
ings of home, family, and children in Paris, of what Bonnard
Bronzino (Agnolo di Cosimo di Mariano, 1503–1572),

Maurice Denis
Portrait of a Young Man, 1530s, oil on wood, 37 5/8
(1870–1943),
x 29 1/2 in., Metropolitan Museum of Art, New York,
Eva Meurier
H.O. Havemeyer Collection, Bequest of Mrs. H.O.
in a Green
Havemeyer, 1929
Dress, 1891,
oil on canvas,
All were created in Florence between 1512 and 1570,
21 1/2 x 15
when the city was transformed from a republic with
in., Cleveland
elected officials into a duchy ruled by the Medici family.
Museum of
The guiding hand was Cosimo I de’ Medici, who discov- Art, 2002.92
ered a useful political tool by employing leading intel- © 2021 Artists
lectuals and artists and promoting grand architectural, Rights Society
engineering, and artistic projects. (ARS), New York
/ ADAGP, Paris
Bengt Erland Fogelberg (1786–1854), Wotan (Odin)
Standing in a Plumed Helmet, c. 1828, plaster, 27 1/8
in. high, Nationalmuseum, photo: Viktor Fordell
called the “modest acts of life.” Their domestic world was not
always what it seemed, however; suppressed secrets, hidden
affairs, and familial tension bubble beneath the surface. Östersund, Sweden
This project has been organized by Heather Lemonedes jamtli.com/en/nationalmuseum-jamtli-2
Brown of the Cleveland Museum of Art with her counter- through April 18, 2022
part Mary Weaver Chapin at Oregon’s Portland Art Museum, Located 560 miles northwest of Stockholm, the National-
where it will appear October 23 through January 23, 2022. museum Jamtli is using 110 paintings, sculptures, draw-
ings, graphics, and decorative works from the National-
museum’s rich collection to show how Nordic myths
were conveyed by artists during the 19th and early 20th
centuries. Before the rise of cinema, talents such as Carl
Larsson, Elsa Beskow, Ernst Josephson, and August Malm-
ström turned not only to Norse mythology and fairy tales,
but also national history and folk traditions. For example,
instead of depicting the Roman deities Jupiter and Venus,
they focused on such Nordic counterparts as Wotan
(Odin) and Freya.
Old Lyme, Connecticut

Dean Mitchell (b. 1957), Tobacco Barn, 2018, flogris.org
watercolor on paper, 30 x 22 in., private collection through September 19
The Florence Griswold Museum has mined its rich hold-
Daytona Beach, Florida ings of historic and contemporary works to create the
moas.org exhibition Social & Solitary: Reflections on Art, Isolation,
through September 12 and Renewal. The pandemic has spurred many changes,
The Museum of Arts & Sciences is hosting a retrospective, William Merritt Chase (1849–1916), The Young including the sudden redefinition of the meanings of
Time Honored: The Art of Dean Mitchell. Born in Pennsyl- Orphan, 1884, oil on canvas, 44 x 42 in., National being social, solitary, and both at once. The works on view
vania and reared in Quincy, Florida, the artist graduated Academy of Design, New York City invite visitors’ contemplation of the ways we have changed
from Ohio’s Columbus College of Art & Design before how we interact with each other, the world, and art.
sculpture, drawings, sketchbooks, journals, prints, photo-
graphs, furniture, clothing, textiles, scientific instruments,
and occult paraphernalia such as Ouija boards. Among
the historical artists represented are Jacob Lawrence,
Alma Thomas, James Abbott McNeill Whistler, Grant Wood,
and Andrew Wyeth; the contemporary ones include Tony
Oursler, Howardena Pindell, and Betye Saar.
Alice Carmen Gouvy

(1863–1924),
Cedar Berry,
c. 1901, watercolor
and graphite on
paper, 13 1/2 x 10
in., Charles Hosmer
Alice Ravenel Huger Smith (1876–1958), Moon, Morse Museum
Gretna Campbell (1922–1987), Untitled, c. 1970s–
Flower, and Hawk Moth, 1918, woodblock print on of American Art,
80s, oil on canvas, 47 7/8 x 41 7/8 in., Florence
paper, 11 1/2 x 9 1/4 in., Gibbes Museum of Art, gift 89–011
Griswold Museum, gift of Nancy Friese in honor of
of Mrs. W. E. Simms, 1962.002.0058.002
Laura Friese Goforth and Henry Finkelstein
dissemination of Japanese prints in the U.S. Her

city was especially keen, so now its Gibbes Museum Winter Park, Florida
of Art is presenting the exhibition Japonisme in morsemuseum.org
Charleston: Alice Smith and Her Circle, which Indefinite
demonstrates how these artists utilized Japanese The Charles Hosmer Morse Museum of American Art holds
aesthetics. one of the world’s finest collections of works by Tiffany
Studios. Louis Comfort Tiffany (1848–1933) employed
many designers, but only a handful were selected to work
in the enamel department, which his employees some-
what enviously called “little Arcadia.” On view now are a
dozen watercolors created there from life studies by two
talented women whose names deserve to be better known
today, Alice Carmen Gouvy and Lillian A. Palmié.
Victoria Hutson
Huntley (1900–1971),
The Flame Bird,
Roseate Spoonbill,
Abraham Mignon (1640–1679), Still Life of Flowers 1952, lithograph
and Fruit, c. 1670, oil on canvas, 29 1/2 x 24 7/8 in., on paper, 15 3/4 x
Mauritshuis 11 3/8 in., private
collection
The Hague
mauritshuis.nl
through August 29 Macena Barton (1901–1986), Untitled (Portrait of
Many of the 17th-century “Old Dutch Master” paintings we Mother), 1933, oil on canvas, 31 1/4 x 26 1/2 in., private Athens, Georgia
love evoke aromas both sweet (flowers) and sour (sewage- collection, courtesy of Corbett vs. Dempsey Gallery © georgiamuseum.org
Estate of Macena Barton, photo: Tom Van Eynde
filled canals). The Mauritshuis exhibition Fleeting: Scents in through August 15
Color explores the portrayal of smell in these works while offer- On the campus of the University of Georgia, the Georgia
ing real scents from dispensers that visitors can sniff. Those Toledo, Ohio Museum of Art is displaying approximately 30 lithographs and
unable to visit in person should take the online tour while using toledomuseum.org two paintings in the exhibition Rediscovering the Art of Victoria
the first-ever Fragrance Box developed by a major art museum. through September 5 Hutson Huntley. Widely collected across America during the
Order it from the Mauritshuis website and then sniff away. Supernatural America: The Paranormal in American Art 1930s and 40s, Huntley (1900–1971) created lithographs
is the first museum exhibition to examine how artists in depicting landscapes, human figures, and the natural world.
this country have pushed the boundaries of science and From 1946 through 1953, she lived in Florida, where she
Charleston psychology. Organized by the Minneapolis Institute of Art often featured the flora and fauna of the Everglades, especially
gibbesmuseum.org and now on view at the Toledo Museum of Art, it arranges birds. In 1952 she even visited the Athens campus to lecture
through October 3 more than 150 objects to consider America as a haunted on lithography and work with visiting artist Francis Chapin.This
Charleston artist Alice Ravenel Huger Smith was one place, apparitions, channeling spirits through rituals, and show has been guest-curated by the noted print collectors
of many Americans to embrace the ever-widening the potential for plural universes. On view are paintings, Lynn Barstis Williams Katz and Stephen J. Goldfarb.
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American
invites you to join us
Society of Botanical Artists
A virtual, global gathering of botanical artists

October 13-17, 2021
Enjoy four-plus days of immersion in all things botanical art from the comfort of home
Connect with botanical art enthusiasts from across the country and around the globe
Share your passion and be inspired by the art and artists portraying the plant world
• Live Demonstrations and Instruction by 21 master artists • Panel Discussion with leading crop diversity experts and
• Portfolios: Prolific artists share distinctive bodies of work artwork from ASBA’s traveling exhibition Abundant Future
• Presentations: Learn about botanical art making a difference • Florilegia: Documenting plant life at unique gardens worldwide
in our communities • Dare to Be Square virtual exhibition
Featured Guest Speaker: British-born botanist, author, and educator, Professor David Mabberley AM, DSc
Go to asba-art.org/conference/2021-virtual for full details.
ASBA’s 24thAnnualInternational appears at Marin Art & Garden Center,
Ross, CA, September 19 - November 28, 2021.
Visit asba-art.org/exhibitions/24th-annual-international to learn more.
2900 Southern Boulevard Bronx, NY 10458-5126

Château de Brécy Gardens, France; Roxbury Russet Apple, ©Denise Walser-Kolar; Pomegranates, ©Mary Dillon
CAROL STROCK-WASSON PSA • AWA • CPPM • IAPS-MC
REFLECTED 12X24 PASTEL
STROCK WASSON STUDIO • 317 N Columbia • Union City, IN 47390 • carolstrockwasson.com • 937.459.6492 Cell Phone
DAVID MARTY
Dusk, 24x36” oil

w w w. d a v i d m a r t y. c o m • 4 2 5 . 2 7 5 . 8 7 7 3
Sara Jane
Reynolds
FINE ART
Painting the
Landscapes
of the
Lowcountry
SaraJaneReynolds.com
843.442.6929
sarareyn@mac. com
Grasses at the Ocean Course on Kiawah Island, 24x30
Phil
Courtney
www.philcourtney.com
philcourtneyart@gmail.com
Works Available in
Watercolor and Oil
Magnificent Magnolia 36” x 40” oil on canvas
Gerard
Erley
Oil Painters of America
2021 Juried Salon Show
Quinlan Visual Arts Center
Gainesville, GA
June 10 - August 7
Night Journey
oil on linen panel
14 x 18 inches
www.gerarderley.com
mail@gerarderley.com
864-356-3431
P E T E R
Eight Wood Screws, 48” by 48” : Acrylic on canvas
S W I F T
SYM METRICAL RE ALISM
w w w.peterswif tar tstudio.com

pswift73@icloud.com
Nik Anikis CHANTEL LYNN BARBER
Capturing Life in Acrylic
Mister Maco Faco, oil on canvas, 70 x 90 cm | 27.56 x 35.43 in, 2020
AWARDS
Finalist Title Award at
International Salon Competition
Art Renewal Center
Imaginative Realism Category
One of the moments I truly cherish is when

the client cries tears of joy when I unveil the
painting I created for them.
A lovely couple wanted to immortalise their

beautiful cat Maco Faco who they simply “She Wore the Sky” 18x14, acrylic on panel
adore. When I visited their home, I began to Available through the artist
understand why they love this cat so much.
In fact, Maco Faco immediately won my heart
with his amazing character.
The painting is a playful but elegant

“Using expressive brushwork Chantel does more than capture a
exploration of the different aspects of its
character.In the centre is the elegant Maco likeness in her figurative work. Her bold paint application lends a
Faco, very lifelike and depicted with precision. sense of movement and emotion to each piece, elevating it beyond
On the sides are its playful aspects, depicted a predictable rendering and into compelling art.”
in a more raw manner where the drawing and
-Kim VanDerHoek
underpainting show through.
The Renaissance fresco adds elegance to the

composition.
Give someone you love the gift of a commissioned portrait:
www.anikis.com/maco chantellynnbarber.com | 901.438.2420
LISA CUNNINGHAM PSA
lisacunninghamfineart.com Warm Welcome, 11 x 14, pastel
Jane Jones
Available through
Bonner David Galleries
New York, NY
929.226.7800
art@bonnerdavid.com
www.janejonesartist.com
Represented by
Bonner David Galleries
Scottsdale, AZ and New York, NY
Autumn Afternoon, 49 x 60 in., oil on canvas
Charlie Hunter: SEMAPHORE

Brattleboro Museum, Brattleboro,Vermont
June 19-October 11, 2021
Charlie Hunter is known for his time-stained pictures of America’s

neglected industrial infrastructure including its railroads - trains, tracks
and bridges.The Brattleboro Museum and Art Center ,which makes its
home in the former Union Station built in 1915) is especially well-suited
for this long-awaited focused presentation of Charlie Hunter’s paintings.
When asked to organize this exhibition my focus went not to his popular
loosely handled subjects, but rather to those elements he renders with
more precision, notably his railroad crossing signals and semaphores still
in active use and directing us toward some unknown destination.
- Eric Aho, show curator
Charlie Hunter
Instagram: @CharlieHunterArt Facebook: @CharlieHunterStudio www.CharlieHunter.art
www.brattleboromuseum.org
D ON RA NKI N www.donrankinfineart.com
Works also on view at BARBARA MOORE FINE ART, Chadds Ford, PA
Milking Time 27” x 13.5” Transparent watercolor on paper.Available via artist . $10,000
North Star Art Gallery
presents
BRIAN
KEELER OPA, PSA
Enfilade Light with Floral Arrangement

oil on panel 26” x 30”
743 Snyder Hill Rd • Ithaca, NY 14850 • 607.323.7684 • www.northstarartgallery.com • Follow us on Instagram @northstarartgallery
Beverly Ford Evans
Sporting Art . Wildlife . Landscape
No Place Like Home

10x12 . oil on linen
Additional Oil Paintings . GalleryRepresentation . www.beverlyfordevans.com
CELEBRATING
37 YEARS
BENSON SCULPTURE
America’s Largest Outdoor Juried Sculpture Show and Sale GARDEN
Over 2,000 sculptures

by 160 jury-selected artists
Saturday, AUGUST 7
9:30am-6:00pm
Sunday, AUGUST 8
9:30am-4:30pm
$10 per adult, 14 & Under Free
29th & Aspen Drive

Loveland, Colorado
SculptureInThePark.org
Gary Alsum
Bronze Sculpture
SSerious
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With an Occasional Dash of Humor!

Joy Ride 7”H 14”W 9”D
View the full range of Gary’s work - over a

quarter century’s worth - and explore the
process of turning your own vision into a
bronze masterpiece at:
garyalsum.com
e-mail: gary@garyalsum.com
GALLERY PARTNERS:
Nationalsculptorsguild.com (NSG Fellow since 1992)
Knoxgalleries.com
JILL BANKS
Capturing Life in Oils
AWA | WAOW | WSLP
Enrich Your Collection

JillBanks.com
Jill@JillBanks.com
703.403.7435
ɑ jillbanks1
Just Picked oil 30 x 40 in (detail) Ʉ JillBanksStudio
M A RC IA HOL M E S
P S A- M P IA P S / M C
6th Master Circle Juried 2021 Gallery Exhibition

International Association of Pastel Societies
June 17-July 19, 2021
Zhou B. Art Center
Chicago, IL
Expressing Our Inner World

Juried Women Artists Group Exhibition
July 24-October 23, 2021
Lyndon House Arts Center
Athens, GA
Violet Swings the River (Available from Artist) Oil on Linen, 35 x 48 in.
American Impressionist Society Associates 2021 Online Juried Exhibition
marciaholmes.com | 985-630-0774
WILLIAM A.
SCHNEIDER
Revealing the Soul
AISM, OPAM, PSA-MP, IAPS-EP
Voulez Vous?
Pastel on Archival Support
16 x 20
Available at
Illume Gallery of Fine Art
St. George UT
illumegalleryoffineart.com/
illume-artists/william-schneider/
(435) 688-7278
Please see website for blog and workshop information W W W. S C H N E I D E R A R T. C O M
SUSAN NEESE
The Hint of Spring 11 x 14, Oil
SUSANNEESE.COM
“The swamps, woods,
fields, and marshes of the
Lowcountry, I could paint
it forever and not get
tired of it.”
“The light and color of

the big sky, the calls of
the birds, the smell of the
marsh, and the breeze off
the ocean..”
To see more visit

marygilkerson.com
Marsh, May Evening, oil on panel
MA RY BENT Z GIL K ER S O N
STUDIO@MARYGILKERSON.COM | 803.386.1702
The Artful Deposit Gallery

Celebrating our
35th
Anniversary
artfuldeposit.com
Bordentown City, NJ
Gallerist, CJ Mugavero
artfuldeposit@gmail.com
(609) 298-6970
Rosie Sparacio - Rosie Pose Photography
See Art Differently.
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Welcome to the Low Country Lifestyle.
Visit our gallery and frame shop to update your home and lifestyle to the Low Country.
EXPERIENCE ART
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Fine Art Connoisseur Editor-in-Chief Peter Trippi and Founder Eric Rhoads will lead the magazine’s 11th annual
art tour through Vienna and Berlin, with an optional post-trip to Dresden. Fine Art Connoisseur is known for its
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a rare chance to see ONLY
2 S
and paint the real russia SEATT
Sept. 12-26, 2021 LEF
W hen I first visited Russia, I fell in love with the people,

the scenery, and the Russian paintings. I’ve been back
many times and, next time, I’m taking 50 painters with me to
You’ll leave with a great appreciation for Russian art, you’ll
discover the warm and wonderful Russian people (not what
you see in the movies), and you’ll want to come back again
tour and paint Russia. Not just the Russia of the movies, but and again. Best of all, you’ll travel with people who know the
the real Russia! real Russia, you’ll grow as an artist, establish
We’ll tour and paint in historic Saint Petersburg, arguably new and lasting friendships, and paint the memories from your
the most beautiful city in the world. We’ll also see and paint time there.
the highlights of Moscow. But it’s between these great cities I’m opening doors to my friends and contacts in Russia
where we’ll find the real gems. to create this unforg
We’ll visit the home and studio of famed Russian artist Ilya September, 2021, b
Repin. We’ll paint quaint villages and stunning landscapes in 50 people.
the exact same places as the great Russian landscape painters
Shiskin and Levitan. We’ll tour the three great Russian muse- Eric Rhoads, Publish
ums: The Hermitage, The State Tretyakov Gallery, and The
Russian Museum.
We’ll have the chance to paint with Russian master Nich-
olai Dubovik and visit great Russian art schools. We’ll open
doors few others could ever open.
to learn more or apply to attend visit paintrussia

d i r e c t o ry o f a d v e rt i s i n g
Adams, Peter........................... 51 Delanty, Rick J. ........................ 50 Larry Cannon Watercolors ...... 50
Adobe Fine Art, The ................ 8 Desert Caballeros Western Liss, Barbara............................ 47
American Artists Professional Museum................................... 32 Lordier, Kim ............................. 49
League..................................... 138 Doellinger, Mick ...................... 11 Lorieo, Jacqueline ................... 40
American Society of Botanical Drennan, Joan ......................... 57 MacQueen, Elizabeth .............. 47
Artists ...................................... 133 Durant, Erik.............................. 43 Mangi, Johanne....................... 57
American Tonalist Society ...... 4 Eiteljorg Museum .................... 33 Menendez, Dulce .................... 5
AnArte Gallery......................... 26 Ellen Howard ........................... 50 Morhous, Maidy....................... 43
Anikis, Nik................................ 137 EnPlein Air Texas/San Angelo Museum MSA NV (Art Nocturne Knocke)..........27
Antaya, Denise ........................ 56 of Fine Arts .............................. 7 National Sculpture Society ..... 38
Aslin, Mary............................... 52 Erley, Gerard............................ 135 Neese, Susan........................... 146
Baker, Echo.............................. 53 Evans, Beverly Ford................. 142 North Star Art Gallery ............. 141
Barber, Chantel Lynn............... 137 Fisher, Cynthie ........................ 41 Nyanhongo, Gedion ................ 45
Beacham, Davina Perl ............. 19 Florence Griswold Museum .... 35 Okonkwo, Nnamdi................... 39
Beth Clary Schwier Fine Art.... 13 Forrest, Christopher................ 54 Paula Holtzclaw Fine Art ......... 6
Blue Rain Gallery ..................... 29 Four Corners Art Gallery ......... 149 Peabody Essex Museum ......... 36
Bonner David Galleries ........... 139 Gary Alsum Bronze Sculpture. 144 Peninsula School of Art........... 10
Bowden, Constance Ramsey .. 42 Gilkerson, Mary ....................... 147 Ponder, Moana ........................ 42
Brenda Coldwell On Track Goble, Ann .............................. 56 Rankin, Don ............................. 140
Studios .................................... 54 Green, Ruth ............................. 45 Raymar Art .............................. 156
Brookgreen Gardens ............... 30 Griffin, Patricia A. .................... 23 Reuter-Twining, Diana ............. 17
Budan, Karen........................... 57 Grossfeld, Katherine ............... 56 Reynolds, Sara Jane ................ 134
Buffalo Bill Art Show ............... 22 Hallenbeck, Jim....................... 54 RJD Gallery .............................. 21
Buxton, John ........................... 55 Harris, Luz-Mary ...................... 40 Rogers, William ....................... 57
C.M. Russell Museum .............. 31 Hassard, Ray............................ 144 Rogo Marketing & Communications....24
California Art Club .................. 48 Hendricks, Laurie .................... 52 Schneider, William A. .............. 146
Camille Przewodek Studio ...... 56 Hockaday Museum of Art ....... 34 Sculpture In the Park .............. 143
Carpenter, Steven A................ 39 Holmes, Marcia ....................... 145 Shachar, Naomi....................... 53
Caster, Mitch ........................... 55 Hunter Studio.......................... 139 Society of Animal Artists ........ 142
Chambers, Kevin ..................... 43 Hutt, Lee.................................. 45 Stats, Kathryn.......................... 148
Cherry, Mary Ann .................... 28 Hutto, Leslie ............................ 46 Strock-Wasson, Carol.............. 133
Chisholm, Susie ...................... 46 Jackson Hole Art Auction........ 155 Swift, Peter.............................. 136
Chrysalis Studio Arts Inc......... 143 Jensen, Ryan ........................... 14-15 Taylor, Mary ............................. 47
Cocq, Yenny ............................ 40 Jill E. Banks Art, LTD ................ 145 Teare, Brad .............................. 9
Coeur d’Alene Art Auction ...... 2 Kennedy, Chippie.................... 44 Ten One Gallery....................... 18
Cogswell, LeaAnn ................... 44 Klass, David ............................. 42 The Artful Deposit ................... 147
Courtney, Phil.......................... 135 Klein, Kurt................................ 44 VanDerHoek, Kim .................... 140
Cunningham, Lisa ................... 138 Koch, Philip ............................. 141 Wellington, Susan ................... 55
David Marty Design................. 134 Kossi, Kristina .......................... 46 Whitelaw, Dawn....................... 136
C L A S S I C
C O N O R W A LT O N ( b . 1 9 7 0 ) , P u s h o v e r, 2 0 1 7, o i l o n l i n e n ,
36 x 27 in., available through the artist
WILSON HURLEY (1924-2008)
First Visit, Mariner 4, Fly-by of Mars
oil on masonite, 72 x 45 inches
Estimate: $30,000-$50,000
SAVE THE DATE! LIVE AUCTION

SEPTEMBER 17 & 18, 2021
COORDINATOR@JACKSONHOLEARTAUCTION.COM
866-549-9278 | JACKSONHOLEARTAUCTION.COM
JACKSON HOLE | SCOTTSDALE | SANTA FE | NEW YORK

Fine Art Connoisseur - July-August 2021

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