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ref•er•enced


ref•er•enced works by

Elise Ansel Dotty Attie Gabrielle Bakker Kathleen Gilje Jeffrey Grant Andy Harper Hai-Hsin Huang Aaron Krach Karen Lederer Chason Matthams Shelley Reed Mia Rosenthal Betty Woodman

D A N E S E C O R E Y 5 1 1 W 2 2 S T NY NY 1 0 0 1 1 2 1 2. 2 2 3 .2 2 2 7 . D A NES EC OR EY . C OM


Titian (c.1488-1576) The Bacchanal of the Andrians, 1523-1526 oil on canvas, 69 x 76 in. Collection: Museo del Prado, Madrid


Elise Ansel, After Andrians II, 2016, oil on linen, 52 1/2 x 60 in.


Georges de La Tour (1593-1652) Magdalen with the Smoking Flame, c.1640-45 oil on canvas, 50 1/2 x 37 x 76 in. Collection: Louvre Museum, Paris


Dotty Attie, Luneville, 1991, oil on linen, 25 panels, 6 x 6 in. each


Pablo Picasso (1881-1973) Bust of a Woman (Dora Maar), 1938 oil on canvas, 18 x 15 in. Collection: Hirshhorn Museum and Sculpture Garden, Gift of Joseph H. Hirshhorn, 1966


Gabrielle Bakker, Lighting the Pipe, 2010, oil, clay, gold leaf on panel, 10 x 8 1/2 in.


John Singer Sargent (1856-1925) Elizabeth Chanler, 1893 oil on canvas, 49 3/8 x 40 1/2 inches National Museum of American Art, Washington, DC

John Singer Sargent said Elizabeth Chanler had the face of the Madonna and eyes of a child. She was the eldest child of the Chanler family and after the early death of her mother, she had the strength of character to raise three sisters and five brothers. She suffered from ill health and had a naturally serious and withdrawn temperament. Sargent painted the picture in the style of an old master and may have looked at Velazquez. I see a strong connection to the seated female portraits of Ingres with Sargent using a decorative pillow instead of shawl or dress. There is tension in Elizabeth Chanler’s pose. I changed her from a seated to standing position and I maintained the tension, especially in her hands. – K. Gilje


Kathleen Gilje, Elizabeth Chanler, Restored, 2007 oil on linen, 25 x 20 in.


John Singer Sargent (1856-1925) Mrs. Robert Harrison, 1896 oil on canvas, 61 1/2 x 31 inches The Nelson-Atkins Museum of Art, Kansas City, MO

Mrs. Robert Harrison married a wealthy stockbroker and musical connoisseur. Sargent, who shared Robert Harrison’s enthusiasm for music, visited Shiplake Court in the summer of 1887 and painted scenes on the River Thames from a floating studio punt. This portrait, one of Sargent’s most beautiful early portraits, has an unusual color scheme, with its light yellow background, white dress and bright red overdress. Her head, turned to a three-quarter position, is almost in profile. I deepened the background color so the flesh tones would stand out, but kept the three-quarter position with her hands, slightly changed, still gently clasped below her waist. – K. Gilje


Kathleen Gilje, Mrs. Robert Harrison, Restored, 2007, oil on linen, 25 x 20 in.


John Singer Sargent (1856-1925) Mrs. Leopold Hirsch, 1902 oil on canvas, 57 x 36 1/2 inches Private Collection

Born Frances Mathilde Seligman, she was the daughter of Henry Seligman, who emigrated from Germany to America as a boy and established a merchant bank which became eminent in the United States with branches in London, Frankfort and Paris. In 1890, she married Leopold Hirsch and was a patroness of several fashionable artists. She also had her portrait painted by Antonio Mancini, which is today in a private collection. Sargent painted her standing, with arms dropped and hands clasped, wearing a coral gown in a Spanish style influenced by Velasquez. She looks straight out at the viewer in a relaxed manner. I crossed her arms in front of her breasts into a more contemporary pose and her expression changing into a more quizzical air. – K. Gilje


Kathleen Gilje, Mrs. Leopold Hirsch, Restored, 2007, oil on linen, 25 x 19 3/4 in.


Heronimus Bosch (c.1450 – 1516) The Garden of Earthly Delights - Creation, c.1490-1510 oil on oak panels , 87 x 153 in. (when opened) Collection: Museo del Prado, Madrid


Jeff Grant, Creation brackets, 2014-2016, sandpaper, book page elements, nails, pins, board, and garbage bag, 40 1/2 x 35 in.


Jeff Grant, Bosch: 50. Die Erschaffung der Welt (Die Schopfung), 2016, collage: sandpaper and book page fragment on paper, 15 x 11 in.


Utagawa Kuniyoshi (1797-1861) Chinese Warrior Zhang Shun Smashes a Water Gate, 1827-30 color woodblock print, 14 5/8 x 9 7/8 in.


Andy Harper, Water Gate, 2011, oil on board, 52 1/4 x 43 1/4 in.


Hai-Hsin Huang, The MET #1, 2014, pencil on paper, 53 x 117 in.


Aaron Krach, Why are you leaving? Where are you going? Will you come back?, 2015 installation consisting of woodcuts, wall text, printed newspapers and painted coconuts


In January 2015, Paul Gauguin’s Nafea faa ipoipo (1892) sold for $300 million to an unidentified buyer in Qatar. After 98 years in the same family –and 68 years on loan to The Kunstmuseum Basel –Nafea disappeared from public view in January 2016. The installation is part homage to the mysterious painting (with its Buddhist hand signals, enigmatic portraits, and vivid-but-flattened landscape). And a series of questions: What does it mean for a painting to be loved and lost? How can we know what something, or someone, is worth, when its image is infinitely reproducible?


Henri Matisse (1869-1954) Dance I, 1920 oil on canvas, 102.2 in × 153.6 in. Collection: Museum of Modern Art, New York


Karen Lederer, Open Circle, 2015, oil and acrylic on panel, 24 x 20 in.


Karen Lederer, Flowers for Hockney, 2016, oil and acrylic on panel, 20 x 24 in.


Karen Lederer, Picasso Oggle, 2015, oil and acrylic on panel, 20 x 24 in.


Gabriel von Max (1840-1915) The Ecstatic Virgin Anna Katharina Emmerich, 1885 oil on canvas, 33 1/4 x 26 3/8 in. Collection: Neue Pinakothek, Munich


Chason Matthams, Daffy Duck with “The Ecstatic Virgin Anna Katharina Emmerich” by Gabriel von Max, 2015 oil and acrylic on cotton, 48 x 84 in.


Paul Gauguin (1848-1903) Matamoe (a/k/a Landscape with Peacocks), 1892 oil on canvas, 45 1/4 x 34 in. Collection: Pushkin Museum, Moscow


Chason Matthams, Leftover parts w/ Paul Gauguin “Matamoe” (“Landscape with Peacocks”), 2016, oil on linen over board, 24 x 18 in.


Jean-Baptiste Oudry (1686-1755) Butor et perdrix gardĂŠs par un chien blanc, 1747 oil on canvas, 47 1/4 x 67 in. Collection: Louvre Museum, Paris


Shelley Reed, Bittern (after Oudry), 2016, oil on paper, 71 x 93 in. (overall)


Lascaux Megaloceros, c.15,000 BC


Mia Rosenthal, Google Portrait: Paleolithic Cave Painting/Hubble Telescope, 2016, Ink on paper, 25 3/4 x 36 in.


Betty Woodman, Study in White, 2014, glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, 82 x 91 1/2 x 16 1/4 in.


Betty Woodman, French Window, 2015, glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas and wood, 74 x 43 x 10 in. [Henri Matisse, 1869-1954]


Betty Woodman, The Blue Vase, 2016, Glazed earthenware, epoxy resin, lacquer, acrylic paint, 33 x 33 x 7 in.


CHECKLIST 1. Elise Ansel, After Andrians II, 2016, oil on linen, 52 1/2 x 60 in. 2. Dotty Attie, Luneville, 1991, oil on linen, 25 panels, 6 x 6 in. each 3. Gabrielle Bakker, Lighting the Pipe, 2010, oil, clay, gold leaf on panel, 10 x 8 1/2 in. 4. Kathleen Gilje, Elizabeth Chanler, Restored, 2007 oil on linen, 25 x 20 in. 5. Kathleen Gilje, Mrs. Robert Harrison, Restored, 2007, oil on linen, 25 x 20 in. 6. Kathleen Gilje, Mrs. Leopold Hirsch, Restored, 2007, oil on linen, 25 x 19 3/4 in. 7. Jeff Grant, Bosch: 50. Die Erschaffung der Welt (Die Schopfung), 2016, collage: sandpaper and book page fragment on paper, 15 x 11 in. 8. Jeff Grant, Creation brackets, 2014-2016, sandpaper, book page elements, nails, pins, board, and garbage bag, 40 1/2 x 35 in. 9. Andy Harper, Water Gate, 2011, oil on board, 52 1/4 x 43 1/4 in. 10. Hai-Hsin Huang, The MET #1, 2014, pencil on paper, 53 x 117 in. 11. Aaron Krach, Why are you leaving? Where are you going? Will you come back?, 2015 installation consisting of woodcuts, wall text, printed newspapers and painted coconuts 12. Karen Lederer, Flowers for Hockney, 2016, oil and acrylic on panel, 20 x 24 in. 13. Karen Lederer, Open Circle, 2015, oil and acrylic on panel, 24 x 20 in. 14. Karen Lederer, Picasso Oggle, 2015, oil and acrylic on panel, 20 x 24 in. 15. Chason Matthams, Leftover parts w/ Paul Gauguin “Matamoe” (“Landscape with Peacocks”), 2016, oil on linen over board, 24 x 18 in. 16. Chason Matthams, Daffy Duck with “The Ecstatic Virgin Anna Katharina Emmerich” by Gabriel von Max, 2015, oil and acrylic on cotton, 48 x 84 in. 17. Shelley Reed, Bittern (after Oudry), 2016, oil on paper, 71 x 93 in. (overall) 18. Mia Rosenthal, Google Portrait: Paleolithic Cave Painting/Hubble Telescope, 2016, Ink on paper, 25 3/4 x 36 in. 19. Betty Woodman, Study in White, 2014, glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas, 82 x 91 1/2 x 16 1/4 in. 20. Betty Woodman, French Window, 2015, glazed earthenware, epoxy resin, lacquer, acrylic paint, canvas and wood, 74 x 43 x 10 in. 21. Betty Woodman, The Blue Vase, 2016, Glazed earthenware, epoxy resin, lacquer, acrylic paint, 33 x 33 x 7 in.


Published in conjunction with the exhibition

ref•er•enced

Danese/Corey, New York, NY January 6 - February 4, 2017 Catalogue © 2017 Danese/Corey, New York, NY Works of art © the artists Danese/Corey wishes to thank all of the artists for their participation, and the following colleagues for their help and cooperation Francis Naumann Fine Art, New York, NY Gallery Joe, Philadelphia, PA LMAK Gallery, New York, NY P.P.O.W., New York, NY Salon 94, New York, NY


D A N E S E C O R E Y

Referenced 2017  

Catalogue to accompany the exhibition Referenced at Danese/Corey, New York, from January 9 - February 4, 2017.

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