Andrew Stevovich: About the Artist

ABOUT THE ARTIST

ANDREW STEVOVICH

About the Artist: Andrew Stevovich Figurative painter, Andrew Stevovich grew up in Washington, DC, where he frequently visited the National Gallery of Art. There he was drawn to the paintings of the Renaissance, which continue today to influence his art.

Working in oil and pastel, Stevovich sets his images in the contemporary world, but his crisp design, brilliant color, and meticulous surface finishes recall the Renaissance works he loves.

Stevovich paints men and women in diners, on beaches and subways, alone in quiet rooms, packed into crowded movie theaters— everyday situations in familiar locations, but his paintings tantalize with gesture and its absence, by motion stilled in capture, and space defined by its occupants which, in turn, defines them. We search for meaning in the relationships of Stevovich’s mysterious figures who move with deliberation through surroundings distilled to pure form.

The artist holds degrees from the Rhode Island School of Design and the Massachusetts College of Art, and is represented in many important public and private collections. His work has been the subject of numerous solo exhibitions across the United States, as well as abroad.

Self-Portrait, 1992 Oil on linen 5 x 3 in Collection of the Artist

Internet Café, 2006 Oil on linen 28h x 32w in $45,000 Make An Offer

When the artist painted this image in 2006, an Internet Café was a novel concept. Today, every Starbucks and most restaurants or other businesses for that matter offer free WiFi. There is already an entire generation who likely has never heard of the antiquated business model. Furthermore, younger people don’t often associate the word “Internet” with a physical gathering of people. Thus, it is interesting to remember and think about people gathering in the same geographic location for the sole purpose of using this technology.

The painting is filled with people. There appears to be a line in the background, either to enter or buy coffee. There’s a man in the middle of the composition, apparently buying the Internet password. Finally, there’s the couple in the foreground, who may or may not be together. Their relationship is unclear because both are consumed with their phone or computer. We cannot be certain that they are strangers because their bodies are turned slightly toward one another. The physical closeness with emotional distance due to a mental distraction may have been a poignant observation by the artist, and this phenomenon is all too common and relatable in today’s world. This couple in the foreground appears to be the focus of the painting, not only due to their placement, but they are also the only figures wearing primary colors: red and blue.

The other figures in the background are wearing a spectrum of purple and dark grey. The primary colors in the couple’s clothing, although not terribly loud, pop out against the various shades of olive green in the table, counter, and wall. They are the focus of our attention in this crowded room and we are confronted with their compulsive activity.

There is a particular excitement that comes with walking into a movie theater. People rush in to find their seats while keeping an eye on the big screen.

The artist loves the theme of movie theaters.

Throughout his career he has depicted ticket booths, lobbies, and concession stands; however, this is the first time that he’s ever depicted the inside of a movie theater. Up until this painting, he had not decided how to depict moviegoers without showing the back of their heads. He feared filling the composition with dull or gloomy color tones of people’s hair.

Stevovich found inspiration through the 13th century Italian Renaissance painter, Duccio di Buoninsegna, who was able to capture the drama of crowds gathering while revealing their faces. In addition to finding the solution of the composition from this Old Master, he also took Duccio’s approach of utilizing brilliant and bold colors, rather than filling the canvas with shadows or dark hues one would expect to find inside a movie theater.

Stevovich’s painting depicts a line of patrons entering the theater to join the seated viewers, who are placed in a diagonal arrangement along the center of the composition. The line and rows of seated patrons intersect to create an implied arrow, which points to the dramatic moment unfolding on the movie screen. The still on the screen is a familiar image. The composition of these cropped faces is repeated in several of Stevovich’s other paintings.

Movie, 2014 Oil on linen 45 x 75 in $125,000 Make An Offer

With very little information, their expressions convey an intense non-verbal conversation about their disproportionate feelings in that moment. Our eyes are drawn to that exchange, and we pause as if we’re holding our breath with the crowd who waits with us to see what happens next.

Painted in 1991, Chez Lou Lou is a demonstration of the consistency of Andrew Stevovich’s compositional strategies. The painting depicts patrons of a restaurant sitting in their respective booths, primarily in profile. With the exception of the waiter and the ghostly figures in the background, all of their eyes line up horizontally along the uppermiddle of the canvas. The row of eyes becomes the central focus of our attention. By stacking the faces on top of each other, the artist plays with our depth perception.

As we scroll our gaze back-and-forth along the eyes, the faces are brought closer together and further apart. The optical effect is partially due to the geometric layering of lines and colors, but the effect is also psychological, as we tend to focus on figures that are looking back at us. In this case, there are only two figures that meet our gaze: the woman wearing red in the foreground, and the man in the booth furthest away. The man may be noticing the two drinks that have arrived for the woman; thus, indirectly looking at us through the glass.

We intuitively decipher that he is a distance away, based on the other figures between he and she, and we’re able to mentally blur the middle figures away since they are not looking in our direction. An enigmatic narrative lingers, created by the tension between the two figures that look at us, and the two drinks that have arrived at a table of one.

Chez Lou Lou, 1991 Oil on linen 32 x 40 in $75,000 Make An Offer

Celia’s Coffee House, 2002 Oil on linen 15 x 15 in •SOLD

Stevovich’s vocabulary of form and his commitment to rendering the figure more in two dimensions than in three makes us often think his work rigid. His art, though, may be described as “quiet,” but not static. Stevovich maintains control over his compositions, which he flattens and patterns vertically, and brings motion into his work by the gesture and orientation he gives to his figures.

In Celia’s Coffee House, Stevovich uses a small detail to capture motion—a stream of coffee suspended in midair as it pours from a glass pot into a crockery cup. Other figures and objects at the shop counter are still, so we concentrate on the pouring coffee. The drink being poured in Martini at Lola’s is similar.

—Michael Botwinick, “Beyond the Figure,” Page 111-112

Subway Riders, 2014 Oil on linen 30 x 40 in $75,000 Make An Offer

Most of us are familiar with using public transportation. A subway ride can appear bleak and unpleasant. All travelers voluntarily commit themselves to a confined space, being very close to complete strangers. For passengers that accept this form of transportation as their daily commute, the travel is not so strenuous and can be benign; however, there are certain unspoken ethical guidelines.

One relevant example is the ironic subway trope that strangers may sit physically close to each other as long as they don’t speak. For those that ride a subway or bus often, it would feel intrusive, rude, or even creepy to have a stranger sitting right next to you trying to engage in conversation. Given this phenomenon, the majority of communication that occurs is through body language. The resulting atmosphere is visually stimulating but mentally vapid.

In this depiction, two passengers appear to be strangers based on their shared body language: crossed arms, covering and protecting the possessions on their laps – simultaneously closing off emotionally, as well as a blank stare past any voyeur. We can see in the window’s opaque reflection that another passenger shares this same posture. While motionless in this pose, the passengers are allowed to occasionally glance at their fellows and invent narratives that place the other within suspected societal roles. Since the subway attracts all walks of life, the people watching can be thoroughly entertaining.

The artist originally intended to make the color scheme of this composition a harmony of greens and blues, and then decided to make the advertising at the top portion red. The stark juxtaposition of coloring in the subway’s banner comments on how vehemently advertisements seek to demand our attention.

We are flooded with advertisements on a daily basis; we see so many ads every day that most of us become numb to them, unless they are shocking or extraordinary pictures. Beneath the loud imagery of the posters in this painting is the cold, quiet reality of the subway.

The two women clutch their belongings and gaze distantly away. Another figure is seen in the window’s reflection, perhaps looking at the woman who is standing – giving her more reason to close off. In contrast, the banner above her head shows the opposite gesture: offering and opening up. In the adjacent poster, a red devilish man, perhaps masked, stares menacingly away – personifying the cruelty that the woman fears from her fellow passengers.

Subway Interior, 2020 Oil on linen 26 x 15 in $30,000 Make An Offer

Most commuters follow their routines and mindlessly move through familiar spaces without noticing their surroundings. A subways station is not necessarily a place you would think to stop and smell the flowers; however, it’s interesting to note how perfunctory our relationship with these types of spaces can be.

In this composition, the artist brings our attention to the congruence of colors inside this small cropping of a subway station. Passing strangers share blues, blacks, and grey tones with the poster on the wall. Neither seem to notice or care because they are too consumed with their commute. This moment of synchronicity is a reminder of how harmony can be found in the places and from the people we least expect.

Subway: East Street Station, 2011 Oil on linen 10 x 10 in $12,500 Make An Offer

The artist arranges the triptych in the format of a Byzantine altarpiece. Two smaller vertical p the larger central composition, which directs our attention and signifies the importance of th is a familiar composition. These are the same figures seen on the screen of Movie, and this c been recreated in numerous other paintings by Stevovich over the years.

In the context of a religious altarpiece, the woman would represent a caregiver, Mother Mary in this case, the male figure seems unappreciative or indifferent of her support. In keepin tradition of early Italian renaissance painting, Stevovich does not adhere to the formal prop his figures in this triptych; rather, the more important figures are scaled up.

The figures on either side are clearly reacting to the scene with their gestures and gaze; cur background stripes are proportionate to those in the central panel. These peripheral figures a to the composition as they draw us into the scene and give us permission to be spectators w

Lola, 2005 Oil on linen 20 x 40 in $40,000   Make An Offer 

panels flank his scene. It couple has

y; however, ng with the portions of

riously, the are integral with them.

Duccio di Buoninsegna, The Nativity with the Prophets Isaiah and Ezekiel (1308-1311) (National Gallery of Art, Washington, DC)

Scars are physical reminders of our past traumas. Although they represent a past pain, the fact that we are still alive to bear them shows our growth despite hardship. Metaphorically, the heart is our center for love and passion. We refer to “speaking from the heart” as a representation of speaking our truth. The expression “heart to heart” implies releasing inhibition, being vulnerable, and opening up to another human being. When our “heart is broken,” of course we mean mentally frayed; however, we feel it in our bodies, and both our bodies and minds need to be mended.

In this painting, Kathleen is confidently smiling and proudly shows her scar. Physically, she has overcome a traumatic open-heart surgery; however, her posture and poise indicates that she has overcome more than physical adversity, and she has come out the other side as a stronger woman.

Kathleen’s Heart, 2018 Oil on canvas 11 x 8 in $15,000 Make An Offer

Stevovich develops relatively little narrative in his paintings. We are misled, though, if we focus solely on the simple repetitive line, the flattened profile, the inaccessibility of his subjects. Even in static compositions, Stevovich has a lot to tell us.

—Michael Botwinick, “Beyond the Figure,” Page 77

Mr. Epps, 2014 Oil on linen 16 x 12 in $18,000 Make An Offer

Stevovich uses “gaze” as a form of connection and communication. He employs the gaze, the steady and intent look we use to discern a thought or action, or to express a feeling—admiration, surprise, curiosity. Gaze is a subtle gesture and when Stevovich uses it he does not disturb the elaborate and stable surfaces he creates.

In the stories on his canvases, his figures rarely exhibit a one-way gaze, that is one figure gazing at another. When a Stevovich figure gazes at another, the gaze is communication, and is returned.

—Michael Botwinick, “Beyond the Figure,” Page 97

Number Game, 2011 Oil on linen 20 x 20 in $25,000 Make An Offer

A man is waiting for his martini, looking at the bartender – perhaps the owner, Lola.

While she carefully pours a mixture into the glass, focusing on making the drink, he gazes directly at her. Both of their postures and expressions suggest a quiet evening.

Neither are frantic, but both have something different on their minds.

Lola is keeping to herself, either thinking about making a drink for her customer or her own life. The man’s stare and body language suggests that he’s thinking about Lola.

Waiting for her to look up.

Although it is difficult to imply the status of their relationship, this moment of waiting before connection seems inherent in human interaction. Connection with others is vital and can be abundant in life, but it is rarely met at the same time.

The man came to the bar for a martini at Lola’s, but that drink in this moment is interfering with his fundamental goal – interacting with her.

Martini at Lola’s, 2015 Oil on linen 15h x 24w in Framed: 21 3/5 x 30 1/2 x 2 in $30,000 Make An Offer

A small monkey sits on a table, reaching for an orange offered by one of two women. Each of the women, whose gestures protect their own fruit, watches how the monkey reacts. They appear skeptical yet willing to engage with the animal.

The figures are framed within an architectural feature that suggests civilization within a densely vegetated environment. The veranda continues off to the right of the canvas, but ends on the left – before the monkey’s tail, in the direction where we assume he’s entered. The composition spirals in Fibonacci sequence outward from the orange to the monkey’s face, to the woman’s right hand, then back through the sleeve of her blue shirt to the primate’s tail, and around the tall leaves that crown the brunette woman. The three are connected in this circular arrangement as a reminder that all living things have a connection.

Two Women Feeding a Monkey, 2018 Oil on linen 18 x 20 in Framed: 23 1/2 x 25 1/2 x 2 in $25,000 Make An Offer

A woman and a man sit, staring at a biomorphic sculpture. They are joined together in this moment by their mutual attention; yet, given the abstract quality of the piece, they are almost certainly having different thoughts and feelings. Even though the polished bronze sculpture is the focal point of the composition, our eyes are split between the figures on either side. We are expected to contemplate this painting like the figures in the painting are contemplating the sculpture.

Contemplating a Sculpture, 2016 Oil on linen 9 x 10 in Framed: 18 1/8 x 18 3/5 x 2 in $15,000 Make An Offer

This painting is a comment on these moments of quiet meditation in front of objects of beauty. We are living in a fast-paced time in history, where flashes of images and advertising constantly interrupt our lives, and our eyes are glued to our screens. For some of us, it’s rare that we stop and appreciate beauty in the world. The goal of this painting is to tempt the viewer to look away from their phone and appreciate beauty in the physical world around them.

In the Clay Room, 2016 Oil on linen 14 x 12 in Framed: 19 x 17 1/8 x 2 in $16,500 Make An Offer

An artist is in her studio, sculpting the bust of a figure in clay – the two looking directly at one another. In the background, a large drawing is pinned to the wall above several other clay heads – all unconsciously looking at one another.

Human beings have always had a fascination with representing ourselves. One of the earliest known representations of a human is the miniature sculpture titled Venus of Willendorf (ca. 28,000 BCE).

Today, artists face the same challenges as our early ancestors. From Michelangelo to Alberto Giacometti, sculptors and painters alike battle with themselves to perfect their craft and produce an artwork with their hands that satisfies their mind’s eye. As one can see by the multiple, nearly finished clay heads in Stevovich’s painting, the artist has practiced her craft endlessly, and the result is imperfectus ad perfectum – perfectly imperfect, like every human being.

Fallen Diva, 1981-82 Oil on linen 29 1/4 x 44 in $90,000 Make An Offer

The title of this painting implies a narrative of concern for the woman who appears unconscious. She is the central figure, whose body stretches the entire length of the canvas. Her mauve dress pops forward against the black or blue striped suits of the men who effortlessly carry her.

Given the formal attire and expression of these figures, the viewer assumes that something unexpected and sudden affected the woman, which changed the course of whatever event they were attending.

This implied narrative is a gentle reminder of the capriciousness of life. When we least expect it, elements outside of our control can catch us off-guard and change the course of our lives; it doesn’t matter how dressed or prepared we might be. The good news, as this scene reminds us, is that when we fall down, others show up to help.

Sometimes they are the people we least expect. We might not be a “fallen diva,” but many of us hope that we have friends or family that would treat us with the same care and concern.

Twins, 2019 Oil on linen 30 x 38 in $75,000 Make An Offer

Through their shared association with Adelson Galleries, Andrew Stevovich became acquainted with Bahareh and Farzaneh Safarani – professionally known as the Safarani Sisters. The Safarani Sisters are identical twin artists who use each other as the subjects of their artwork.

Stevovich often incorporates mirrors or reflections in his paintings. He has referred to his paintings themselves as mirrors, in a metaphorical way, to people’s emotions. Due to the minimal facial features in Stevovich’s figures, viewers can more easily identify themselves with the subject, thus project their feelings onto portrayals in the painting. Therefore, the idea of painting the identical twin sisters seemed to be a natural fit in his oeuvre.

Twins is a prime example of Stevovich’s mastery of perspective and parallel replication. From a technical standpoint, the figure on the far right is flawlessly reproduced in her grey reflection in the window behind. Her face is mirrored in the panel that the sister presents. The image in the frame is ambiguous, as it could be a mirror or painting. The pencil and dampened paintbrush on the table in the foreground seem to suggest the latter. In either case, the framed image is a direct echo of the sister on the right. The frame is being held at a 45-degree angle; therefore, if this were an accurate depiction of a mirror at an angle, from our perspective we would see a frontal view of the sister on the far right.

The play on perception is reminiscent of Édouard Manet’s A Bar at the Folies-Bergère (1882), where the bar maiden’s reflection behind her is incongruous to where the viewer actually stands; however, Manet’s decision to place the reflection at an angle was to convey more information about the scene from a third-person perspective. Likewise, Stevovich balances the composition with this technique, and also takes us out of the realm of reality to contemplate the accuracy and truthfulness of a reflection.

Whether one’s demeanor is painted, photographed, or viewed in a mirror, the reciprocal image does not entirely define the subject. Furthermore, we often see what we want to see, regardless of the apparition that we see of ourselves in the mirror or on canvas.

Édouard Manet, A Bar at the Folies-Bergère (1882) (Courtauld Gallery, London)

Dinner in Ithaca, 2011 Oil on linen 25 x 30 in $45,000 Make An Offer

“There is more power in telling little than in telling all.” — Mark Rothko “The mind loves the unknown. It loves images whose meanings are unknown, since the meaning of the mind itself is unknown.” — René Magritte These are two quotes by two very different artists, picked out by Andrew Stevovich.

Anyone who is familiar with Stevovich’s paintings would ascertain that these philosophies are in line with his ethos, exemplified by this painting: Dinner in Ithaca.

The content of the painting does not signify with clarity any more information than the three words of the title. We are sitting across the table from a woman who is looking at a menu. However, we cannot read the menu, and we’re focused on the woman and mural of a woman. The mural depicts the lower half of a face in profile in the dampened hue that suggests subtle distance behind the figure’s head. The painted wall comes to the front then the back of our attention – depending on where we choose to direct our gaze. We are either looking at the woman looking down, or looking around the woman to see the mural. We are caught in a moment of quiet contemplation.

While watching the figure make a decision, our eyes pick up hints to make sense of the title that the artist has given us: Dinner in Ithaca. Every line and shade of color gives us clues, supporting or refuting potential theories of narratives that the artist has given us room to create.

Many of us have fond memories of going to amusement parks as children. For Stevovich, that was Glen Echo Park in Maryland, a few miles away from where he grew up in Washington, DC. The rides have since been demolished, but his memory of “The Flying Skooter” is vibrant.

Throughout the artist’s adult life, he has daydreamt about the wonder he felt on his favorite ride.

Stevovich first sketched it in 1991 and continued working through ideas on how to capture this sensation since then. At the end of 2019, he finally completed his first painting of the ride, which captures the excitement he felt as a teenager.

The deliberately cropped composition reveals the precarious rudders under each car, but leaves out the mechanical component that supports each couple as they apparently whirl in a clockwise rotation. The ambiguous pattern of their alignment adds to the sense of vulnerability, and this movement further emphasizes the thrill of the ride. The theme of this painting is no doubt an echo of the precariousness of life. We all seem to be whirling around, along for the ride, and either accepting, fearing, or blissfully unaware of the fragility of the mechanisms that support us all.

Flying Torpedo, 2019 Oil on Linen 36h x 48w in $125,000 Make An Offer On cover

A dog has found his the carpet, as he beg of the plain, white tre

If you’re a dog owner tend to eat some stra

Sleeping Woman with Dog, 2016 Oil on linen 20 x 36 in Framed: 24 1/2 x 40 1/2 x 2 1/4 in $35,000 Make An Offer

Most people can rela to rather than what th dog personifies hum own free will instead

A woman sleeps peacefully and her companion joins at her feet after stealing one of her slipper is illuminated, but the open window signifies a dark night outside. The composition is diagonal between the woman and dog’s faces. There are reflected curved lines between the pair, as they b like ying and yang.

The angelic sleeping woman paired against her alert, disobedient pet. Dogs tend to take after t so perhaps this pet’s rebellious action reflects a rougher side to the quiet, sleeping figure.

Assuming this personification to be true, the painting alludes to the fact that people are often they appear to be.

s owner’s slipper and settles down, rumpling gins to gnaw teeth into the footwear instead eat next to it.

r, the painting might hit close to home. Dogs ange things that they shouldn’t be eating.

ate to the impulse of eating what they want hey know is healthy for them. In that way, the an behavior in our compulsion to act on our of following advice.

s. The room lly balanced both lie still

their owner,

n more than

Dog with Slipper, 2016 Oil on linen 5 3/4h x 11 1/2 in Framed: 14 3/4 x 20 x 2 in $12,000 Make An Offer

A man in profile wearing a hat that resembles a wolf’s face, secured by a strap under his chin. The hat, which may also be a mask flipped onto his head, sits low on the man’s forehead – pushing his eyebrows down and forcing an uncomfortable or indignant expression.

If the hat were to symbolize the social masks that we all occasionally wear, then this painting represents a person who is embodying the role of his inner “wolf.”

We often wear “masks” to hide our true identity or protect ourselves. Here is an example of someone who needs to put on a brave face.

Wolf Hat, 2016 Oil on linen 6 1/2 x 4 3/4 in Framed: 15 3/5 x 13 2/5 x 2 in •SOLD

Andrew Stevovich enjoys depicting people playing games or gambling. People tend to be physically expressive when they are having fun or under pressure. In this scene inside a crowded casino, we see the excitement and tension conveyed through body language and subtle facial countenance.

In the game of blackjack, all of the players try to beat the hand of the dealer by having their cards add up to 21, or as close as possible without going over that number. The three players at the table facing the dealer have very different hands and chances of winning. Their respective postures reveal who is confident, anxious, or pensive.

I am going to break down each hand, based on the cards we can see and my limited understanding of blackjack. Before I do, I would like the reader of this essay to guess what each figure is feeling without studying their cards. Who is feeling confident? Anxious/Nervous/ Excited? Contemplative?

Made your guess? Here’s what we know: The woman wearing green has a total of 13, so she will probably have to take one more card, and it’s not looking too good for her. The man sitting next to her has a hand below 10, so he’s better off, especially considering that the woman in green has taken a few of the low cards.

Meanwhile, the woman closest to us has a 20 or 21, so she does not need to be anxious; rather, she has more reason to be excited because she does not need to take any action. Given this basic analysis of the hands, the respective gestures of each player make more sense.

Blackjack Players, 2012 Oil on linen 28 x 42 in $75,000   Make An Offer

Andrew Stevovich: Beyond the Figure Adelson Galleries has partnered with Skira Editore to produce a comprehensive volume on our artist, Andrew Stevovich, who we have represented since 1980. The book launched with Stevovich’s solo- exhibition at The Greenville County Museum, North Carolina, from February 1 – March 29, 2020.

Due to the current global health crisis, the exhibition was cut short, and our plans to travel the exhibition to other physical locations have been postponed. In the meantime, we felt it would be in the best interest of our patrons, followers and fans to see a digital glimpse of the exhibition. The descriptions beside each artwork are merely opinions and personal observations of the paintings by the gallery director, and not definitive explanations by the artist. We encourage readers to develop their own theories as they zoom in or squint at each painting on their screens.

Description of the Book "Andrew Stevovich: Beyond the Figure" is a 223 page tableau of the artist's career as it relates to the history of art. The book starts with an interview of the artist, which reveals his upbringing and inspirations that led him to paint in his unique style. Following the interview is a dissection of Stevovich's paintings by Michael Botwinick, former director of the Hudson River Museum (Yonkers, NY) and Brooklyn Museum. Botwinick writes poetically about the styles, characters, and compositions that the artist depicts. There are eleven sections of text, covering distinct themes, which are interwoven between images of Stevovich's work and juxtaposed next to reproductions of historically significant paintings.

Follow this link to purchase a copy of the book now!

A dedicated and signed copy of the publication will accompany any purchase of painting from this catalogue.

All prior patrons of Andrew Stevovich’s work should expect to receive their complementary copy in the mail in the coming months!

Selected Solo Exhibitions

• Adelson Galleries. New York, New York • Adelson Galleries Boston. Boston, Mas • Alpha Gallery. Boston, Massachusetts.

• Boca Raton Museum of Art. Boca Rato • Clark Gallery. Lincoln, Massachusetts.

• Clark University. Worcester, Massachus • Coe Kerr Gallery. New York, New York.

• Danforth Museum of Art. Framingham, • Hudson River Museum. Yonkers, New Y • Impressions Gallery. Boston, Massachu • Loft Gallery. Huntsville. Alabama. 1999 • Mitsukoshi Gallery. Ebisu, Tokyo. 1996 • New Britain Museum of American Art. • Pisa Galleries. Tokyo, Japan. 1992 • Tatistcheff-Rogers Gallery. Santa Moni • Terrence Rogers Fine Art. Santa Monic • Virginia Lynch Gallery. Tiverton, Rhode

Selected Group Exhibitions

• Annual Salon Show, Clark Gallery. Linc • Approaches to Narrative, DeCordova M • New Acquisitions, DeCordova Museum • Treasure, Terrence Rogers Fine Art. Sa • Virginia Lynch: A Curatorial Retrospect • Figurative Works of Art, Virginia Lynch • Twenty Prints from Fifty Boston Years: • The Cutting Edge: A Short History of t • Self-aMUSEd: The Contemporary Artis • Group Exhibition, Virginia Lynch Galle • Group Exhibition, Tatistcheff-Rodgers • Recent Acquisitions, Portland Museum • Contemporary Paintings, Coe Kerr Gal • The Art of Love, Riverside Art Museum • Common Roots/Diverse Objectives: RI • Art/L.A. Los Angeles, California. 1989 • The Art of Printmaking, Fitchburg Art M • Modern Works on Paper, Fergus-Jean • 20th Century American Realism from t • Chicago International Art Exposition. C • Modern and Contemporary Paintings, • Bathers, Coe Kerr Gallery. New York, N • Contemporary Paintings, Gallery of La • Realistic Directions, Zoller Gallery. Pen • American Realism, Coe Kerr Gallery. N • 20th Century American Art, Coe Kerr G • American Realism, Coe Kerr Gallery. N • 20th Anniversary Exhibition, Corcoran • Boston Artists’ Work on Paper, Boston • Brockton Triennial, Fuller Art Museum.

• New Talent, Marilyn Pearl Gallery. New • Patron’s Choice, DeCordova Museum.

• Arita / Reichert / Stevovich, Woods-Ge • Home on the Range (West by East), W • Open Painting, Providence Art Club. P

k. 1992, 1995, 1999, 2001, 2004, 2007, 2010, 2015 ssachusetts. 2012, 2015, 2018 . 1971, 1973, 1976, 1978 on, Florida. 2009 1985, 1990, 1997, 1999, 2004, 2007 setts. 1980 . 1983, 1985, 1987, 1990 , Massachusetts. 1999, 2007 York. 2008–2009 usetts. 1982 9 6 New Britain, Connecticut. 1975

Public Collections • Addison Gallery of American Art, Andover, Massachusetts • Boston Athenaeum • Boston Public Library • Danforth Museum, Framingham, Massachusetts • DeCordova Museum, Lincoln, Massachusetts • Estonian Art Museum (Eesti Kuntstimuuseumi), Tallin, Estonia • Florence Griswold Musuem, Old Lyme, Connecticut • Fuller Art Museum, Brockton, Massachusetts • Hudson River Museum, Yonkers, New York • Katzen Arts Center, American University Museum, Washington, DC • Museum of Fine Arts, Boston • New Britain Museum of American Art, New Britain, Connecticut • Portland Museum of Art, Portland, Maine • The Wen Long Cultural Foundation, Taiwan

ica, California. 1989, 1993 ca, California. 2000 e Island. 1992, 2002

coln, Massachusetts. 1993, 2009 Museum. Lincoln, Massachusetts. 2007 m. Lincoln, Massachusetts. 2003 anta Monica, California. 2002 tive, Rhode Island Foundation. Providence, Rhode Island. 2000 h Gallery. Tiverton, Rhode Island. 2000 1949–1999 (Collection of the Boston Public Library), MPG. Boston, Massachusetts. 1999 the Woodcut, Portland Museum of Art. Portland, Maine. 1995 st as Observer & Observed, Fitchburg Art Museum. Fitchburg, Massachusetts. 1993 ery. Tiverton, Rhode Island. 1991, 1993 Gallery. Santa Monica, California. 1991 m of Art. Portland, Maine. 1991 llery. New York, New York. 1990 m. Riverside, California. 1990 ISD Alumni in Boston, Fuller Art Museum. Brockton, Massachusetts. 1989

Museum. Fitchburg, Massachusetts. 1988 | The Galerie Kunst in Turm. Kleve, Germany. 1989 Gallery. Columbus, Ohio. 1988 he Blum Collection, Aetna Art Institute Gallery. Hartford, Connecticut. 1988 Chicago, Illinois. 1984, 1985, 1987, 1988 Coe Kerr Gallery. New York, New York. 1984 New York. 1984 ancaster. Lancaster, Pennsylvania. 1984 nnsylvania State University, State College, Pennsylvania. 1983 New York, New York. 1983 Gallery. New York, New York. 1982 New York, New York. 1982 Gallery of Art. Washington, DC. 1981 n University Gallery. Boston, Massachusetts. 1981 . Brockton, Massachusetts. 1978 w York, New York. 1977 Lincoln, Massachusetts. 1976 erry Art Gallery. Rhode Island School of Design, Providence, Rhode Island. 1970 Woods-Gerry Gallery. Rhode Island School of Design, Providence, Rhode Island. 1970 Providence, Rhode Island. 1969, 1970

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