PLUMAGE PLUMAGE--TX
Dec. / Jan. 2015 – 2016 Issue
Hill Country Magazine FREE
The Cross Holiday reflec on of the mes
Framing Design Trends
Sketch Books Something Personal Something Personal
New selec ons
G. Harvey Spotlight prints
Reviews/ Commentary/ Exhibi ons/ News/ Events
Photography and Design by: Gabriel Diego Delgado
Available at JR Mooney Galleries—Boerne / www.jrmooneygalleries.com / 830-816-5106
Russell Stephenson “First Frost” Oil on Panel 24” x 24”
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PLUMAGE PLUMAGE--TX
IN THIS ISSUE Joy to the World Art Analysis
22 32
PLUMAGE PLUMAGE--TX Winter 2015 / (Dec—Jan.) Issue
Frames New selec ons of home decor
PUBLISHER Gabriel Diego Delgado Contribu ng Writers Gabriel Diego Delgado
IN EVERY ISSUE
Katherine Shevchenko
A Note from the Publisher –P.8
Melissa Adriana Belgara Gina Mar nez
On the Cover—P.10 All artwork photography courtesy of J.R. Mooney Galleries of Fine Art Prices are for current artwork, and can change at any me
Contributors— P.11
© 2015 JR Mooney Galleries
Designer’s Quill—P.28
305 S. Main Boerne, Texas
78006 830‐816‐5106
Edited by Gabriel Diego Delgado, Marla Cavin, Katherine Shevchenko , Be y Houston Design by: Gabriel Diego Delgado
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Reviews/ Commentary/ Exhibi ons/ News/ Events, Winter 2015
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PLUMAGE PLUMAGE--TX
FEATURES Winter 2015 / 2016 Issue No. 8
14
38
Sketchbooks Inspira ons on paper
Tis the Season G. Harvey Prints
66
A er Market Fair Market Value
46
Boerne Out and About in the Holidays
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A Note from the Publisher
As I write this, the wind is gus ng at around 45 miles per hour. The trees down by the river are brown, and leaves and pecans li er the streets of downtown Boerne. The city is humming with prepara ons for the Dickens on Main events, and the onslaught of the Christmas season. Holiday lights dangle from every storefront façade. Winter coats, scarves and cozy dress are the new wardrobe for the Main street shoppers. We are entering into the winter season here in the Hill Country. The smell of fireplaces, fire pits and burning leaves wa through the crisp air. The merchants talk of the Holiday Stocking Stroll, rub their bellies full of exo c meats from the Wild Game Dinner and hope for des na on shoppers to visit the Historic Mile. Soon Santa Claus will be on his North Pole throne at his signature spot at the Nature Store and the Dickens on Main One Man Plays stages are going up. Don’t lose focus on what’s important during this wonderful season. Shop local, support local and remember art makes a great gi to yourself and others; its ba eries will never die!
PLUMAGE‐TX hopes to use its pages as a vehicle to educate, entertain and enlighten our audience on a variety of topics ranging from reviews, news, ar st narra ves, interviews, cri cism and a cohort of other art related stories from within the gallery walls to the major metro centers. I hope you find this informa ve and hope you con nue to follow the ar s c happenings around you in your local neighborhoods.
Sincerely,
Gabriel Diego Delgado, Publisher gabrieldelgadoartstudio@yahoo.com gabrield@jrmooneygalleries.com
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305 S. Main St Boerne, TX 78006 830-816-5106
8302 Broadway St San Antonio, TX 78209 210-828-8214
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Original Paintings Giclees & Prints Picture Lights
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On the Cover
Downtown Boerne was alive with Holiday cheer from November to January. All the storefronts were decorated with wonderful displays of Christmas splendor. As I walked down Main Street one night, I took pictures of all the store windows, details of the glorious merchandising miracles that greeted the patrons as they window shopped. That night, crisp and clear, I saw trees and presents, angels and elves, lights and bulbs. It was a great me to absorb the season. Pictured here is an elegant evening gown , back dropped by strands of Christmas bulbs that give perfect color complements.
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Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
Contributors
Gabriel Diego Delgado is the Gallery Director at J.R. Mooney Galleries of Fine Art, Boerne, Texas. He has spent almost a decade in Nonprofit Art Management‐ working as a Curator of Exhibi ons at the Sta on Museum of Contemporary Art, Houston; Project Manager of Research and Development at the Museo Alameda, a Smithsonian Affiliate, San Antonio. He is a Freelance Curator and Arts Reviewer for several publica ons. His artwork has been shown in Arco 2012 Madrid, Spain; New York, New York, MOCA (Museum of Contemporary Art) D.C. as well as numerous galleries and venues throughout the U.S. He is currently working on his Fine Art Appraisal License.
Katherine Shevchenko has a ended the San Francisco Academy of Art University and the University of Texas at San Antonio where she received her Fine Arts Degree with an emphasis in Pain ng. Her experience ranges from interning as a curatorial assistant at Southwest School of Art to teaching art to students of all ages. Currently, she is an art consultant/framing designer at the J.R. Mooney Gallery in Boerne. Some of her contribu ons include wri ng ar cles, hos ng and edi ng the J.R. Mooney podcast, "Mooney Makes Sense" and art catalog design. She is also an ar st that specializes in pain ng in oils and other media.
Melissa Belgara, a na ve Texan that grew up in Houston, lived in San Marcos and San Antonio has recently moved with her family to Boerne. Her experience in Commercial Real Estate Marke ng provides a unique perspec ve of this quickly expanding area of Texas. She holds a Bachelor's degree from the University of Houston in Communica ons, as well as a Masters degree in Organiza onal Management. Currently, she spends most of her me caring for her two daughters, subs tute teaching and looking for crea ve ways to explore and discover the Hill Country's ar sts' communi es. Gina Mar nez graduated from AEW College of Photography and Louisiana State University with degrees in photography and communica ons, respec vely. Her photography has been in several Louisiana galleries including The Baton Rouge Gallery, The Shaw Center for the Arts and the Louisiana Ar st Alliance, and at the Movements Gallery and the Monarch Events Center in Aus n, Texas. She has published a book called “The Kuna Yala” based on her stay with the Guna Yala tribe of Panama.
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Photography and Design by: Gabriel Diego Delgado
Available at JR Mooney Galleries—Boerne / www.jrmooneygalleries.com / 830-816-5106
Arthur McCall “Light Snow” Acrylic on Panel 24” x 24”
Rex Hausmann
Spotlight Feature 14 / PLUME‐TX Magazine
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
Sketch Books Notes, Drawings and Thoughts OH MY!!
By: Gabriel Diego Delgado
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Kat Shevchenko Kat Shevchanko
Rex Hausmann
Spotlight Feature
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S
ketchbooks for ar sts are personal journals that act as windows to the soul. From these books, pain ngs are born. On these blank pages, notes are made, sketches drawn, life is lived, poems are wri en, and some mes bills are paid; in essence a journal where the day‐to‐day rou nes collide with divine inspira ons and dreams. On one page can be a shopping list, a phone number, a note, and on the other a drawing of the next masterpiece. Life is recorded; life is cataloged, analyzed and thought through. These are in mate spaces where one does not edit, but explores ideas through text, sketches, thoughts, and nominal inner personal conversa ons and mental dialogue that act as the building blocks for the manifesta ons of ar s c magic. The artworks in these books are for the tour de forces born from these “bibles of the banal”; sanc fied pages that form the founda ons for treasured ar s c epiphanies.
I recently sat down with San Antonio ar st, Rex Hausman, a er his teaching residency in Paris and he jolted in me a rejuvenated interest in this tradi onal and ar s c note keeping. His daily affirma ons and diligent records of thoughts, pictures, text, postcards, sketches, images, receipts, wrappers and the like were a wonderful and invigora ng experience that brought a tear to my eye while viewing his stories and considera ons. From being shot in the leg to his travels around the world, it was all there. And yet, here I was reading it; his sense of humanity, holiness, gra tude, playfulness, sorrow, judgment and coy personality were on the pages of those six books. This lead me to reflect on my own discarded rou ne of wri ng and drawing in journals and sketchbooks, and it commanded me to talk to other ar sts in how they approached the sketchbook idea. His comment on my reac on to his sketchbooks ‐ “It’s life man, real recognizes real.” And for that I am thankful.
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
Gabriel Diego Delgado For Rex, the things he collected along the way were found on those pages. He found inspira on in duct tape colors, the color combina ons on wrappers, the maps of places he has been. He also jo ed down poems and notes to his parents. For other ar sts’ sketchbooks, I found more of the same: sketches and sketches of preliminary drawings for one pain ng; a way to work out the composi ons, notes on color mixing, doodles of the day, coffee shop sketches, playful children drawing collabora ons, lists of materials needed, abandoned pain ng ideas, exhibi on invita ons, and so much more. Conceptually, the sketchbook is an analog version of a personal Pinterest®, sca ered thoughts funneled down and noted.
“The pages of ar s c sketchbooks some mes show the drawing drudgery to arrive at such studio successes.”
I knew I needed to start photographing these perfect pages, because most people don’t ever see the thoughts that go into making the artwork; they only see the final product. The mental toil involved in making art is laboriously intense. The pages of ar s c sketchbooks some mes show the drawing drudgery to arrive at such studio successes. Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016,
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Gabriel Diego Delgado
Spotlight Feature
Never one for sketchbooks, I o en wrote down notes for my pain ngs. In college I worked out themes. My journals looked more like a philosophy major than a fine art major. My inner dialogue would revolve around why I was doing something, not composi onal arrangements for the pain ngs themselves. I ques oned myself, my reac ons and my decisions, not the pain ngs. My abstract pain ngs at the me evolved on the canvas, not on the paper. I really never knew how to work on the issues in a sketchbook. I knew how to record thoughts, inspira ons, labels, lists and receipts. That is why I found Rex Hausmann’s sketchbooks so intriguing. He was doing what I started off doing, too. He was recording life in whatever medium stroked his fancy; marker, highlighter, pen, pencil, paint, watercolor, etc. This was real. Trips to the grocery store inspired drawings. Ea ng a bagel jus fied taking the me to make a sketch of the barrista. The colorful world all around him was and is the source for his inspira on. Something you learn along the way is “stop and smell the roses.” Now what if there was a convenient way to jot down how you felt when you smelled those roses, what did it smell like? Can you press the rose petals between two pages and see them every day? Can you take that moment with you? What are your first thoughts a er smelling the roses? Handy sketchbooks allow ar sts to document those moments of reflec on, appreciate the fusillade of informa on they process on a moment‐to‐moment basis, and record such moments to use
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Kat Shevchenko Rex Hausmann
Rex Hausmann
“It’s life man, real recognizes real…”
as ar s c inspira ons. A spark of crea vity might come at any moment. Ar sts need something to preserve that enlightened clarity to use when back in the studio. From that moment of reflec on comes something tangible like a sketch, a note or a drawing. From that first step comes a path; from the
Kat Shevchenko
path comes a des na on; from the des na on comes art. Art – a visual record of the world around us, how it inspires us to create and that inspira on leads to ac ons‐ maybe from a sketchbook.
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1.800.537.9609 www.jrmooneygalleries.com
305 S. Main St Boerne, TX 78006 830-816-5106
Custom Framing Conservation Museum Fine Art Photography Shadow Boxes Ready-Mades More... Original Paintings Giclees & Prints Picture Lights
8302 Broadway St San Antonio, TX 78209 210-828-8214
Gallery News
New Gallery Acquisitions “An Art Consultant’s Analysis” By Gina Martinez “Everlas ng Joy” by Sidney Sinclair is a recent acquisi on by the J.R. Mooney Galleries of Fine Art. This pain ng is part of Sinclair’s Abstract Cross Series. All the usual elements of her crosses are represented in this pain ng: warm ligh ng, a thema c sense of mystery and heavy use of impasto technique. What dis nguishes this cross, to me, is the contempla on of the representa on of The Holy Trinity. Sinclair’s “Everlas ng Joy” is celes al; there is a sense that the cross came from somewhere besides an ar st’s studio. Overall, the aesthe c of the piece is one of an quity, as if the cross was forged by an early Apostle and later placed in the Hagia Sophia un l it was smuggled to a Byzan ne church in Budapest a er the fall of Constan nople. When I reflect upon the Holy Trinity I first think of God and His origin, coming out of the void and crea ng the world. I remember the Old Testament, a me when Western Civiliza on was in its infancy and the religions we have today were forming. In Exodus 3:13‐14 God reveals Himself to His people: “And Moses said unto God, Behold, [when] I come unto the children of Israel, and shall say unto them, The God of your fathers hath sent me unto you; and they shall say to me, What [is] his name? What shall I say unto them? 14 And God said unto Moses, I AM THAT I AM: and he said, Thus shalt thou say unto the children of Israel, I AM hath sent me unto you.” The mysteries of God shown through the canvas’ rudimentary abstract lines and rectangular shapes, in contexts of its parts, are not ini ally discerned as a cross. Rather it is when the eye calculates all the lines and the shapes together that the powerful icon is revealed and the second component of the Holy Trinity is introduced.
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The physical a ributes of the pain ng correspond to the flesh and blood of Jesus Christ. Sinclair’s cross is painted in earthy tones of red, brown, gold and yellow. The reds primarily used in the pain ng look like dried blood, homage to the blood that Christ shed when he was crucified. The golds and yellows are sallow so and warm, like tones of flesh, that of the dying Savior. The Trinity is realized by the final component, the Holy Spirit. The three unify to become an important idea in Chris an belief. "It is the Father who generates, the Son who is bego en, and the Holy Spirit who proceeds," As explained by the Lateran Council IV (1215). In this pain ng first felt is the mystery of who is God. Next the physical representa on of the flesh, Jesus Christ, is shown on the canvas through the physical materials of the pain ng, and finally, the presence of the Holy Spirit resonates from and beyond the piece.
“Everlas ng Joy” by Sidney Sinclair Oil on Canvas, 30” x 30”, $1,975.00 Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016,
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Gallery News
The Holy Spirit is represented by the shape of the cross which is organic like the colors. The heavy impasto layers also create movement. The paint vibrates on the canvas and burst forth in waves like the energy of the soul. It is as if the Holy Spirit comes through the paint directly to the viewer. The idea that all three of these come together as one is symbolized by Sinclair’s cross.
“The mysteries of God shown through the canvas’ rudimentary abstract lines and rectangular shapes, in contexts of its parts, are not ini ally discerned as a cross.”
Before crosses, Sinclair painted many landscapes. For me, “Everlas ng Joy” is a type of landscape. It is a soulscape, a pain ng that mainly depicts the inner side of the ar st. It is a record of her joys and sorrows and the days that she bore her soul to the canvas. One can feel the energy of Sinclair’s bold, repe ve strokes as everlas ng as the icon she paints. “I bring my spirituality to these pieces, but the people who like them and buy them bring theirs,” Sinclair says to San Antonio Women’s Magazine in a 2013 interview. She con nues to say she wants people to see the hand of God in her pain ng. Sinclair is also a cancer survivor and one does not have to look very hard at her pain ng to feel her faith and spirituality coming through. As it is stated in 1 Corinthians 1:18 ESV: “For the word of the cross is folly to those who are perishing, but to us who are being saved it is the power of God.” By Gina Mar nez, Framing Design & Art Consultant Sources Landscapes and S ll life Vol 1 JR Mooney Galleries of Fine Art Abstract Cross Series JR Mooney Galleries of Fine Art h p://www.va can.va/archive/ccc_css/archive/catechism/p1s2c1p2.htm h p://www.openbible.info/topics/cross Boerne Business Monthly November 2013 San Antonio Women’s Magazine November/December 2013
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Feel confident entrusting your cherished memories and fine art. Master framers with over fifty years experience in custom framing and shadow boxes. We carry a versatile selection of framing mouldings and mats from: Laron Juhl, CMI Moulding, AMPF, Max Moulding and many more! Come in today and have a consultation with one of our framing designers and be inspired!
Custom Framing Conservation Museum Fine Art Photography Shadow Boxes Ready-Mades More... Original Paintings Giclees & Prints Picture Lights 305 S. Main St Boerne, TX 78006 830-816-5106
8302 Broadway St San Antonio, TX 78209 210-828-8214
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Design by Katherine Shevchenko
Design by Katherine Shevchenko
Home Accessories
New Year, New Beginnings New Ways to Integrate Art into your Home‐Framing Ideas for the New Year As the rush of the holidays start to ebb, one thing that many embark on is the annual ritual of clearing out the clu er of the old and making way for the new, but there are some memories that lay in wait, in storage in a cs and in boxes, that are too precious and sen mental to be thrown away. What most probably do not realize is that these memorabilia can be framed and beau fully displayed in your home, crea ng a personalized piece of art. What must be factored when considering quality custom framing is that it is an investment, and will add enhancement to the décor and aesthe c to a room, while increasing and preserving the longevity of the subject, especially if it is a sensi ve item. Objects and memories of personal significance from family members can be passed down to future genera ons to memorialize past legacies and inspire future ones. For instance, needlepoint works such as cross s tch, quilts, handmade blankets and clothes are able to be framed. Memorials can be made from photos paired with an object of significance, such as a veteran’s photo paired with a medal or a folded flag can be used to honor their service. With the u liza on of a shadow box, which is a frame with a more pronounced depth there are endless possibili es for ideas. Ceramic plates are also requested for framing, especially if they have been passed down carrying sen mental value. If so desired, and there is a preference to be able to s ll have access to an object, there is always a method of crea ng a cabinet style frame that can be opened and the item is able to be removed for dus ng and examina on. There are numerous an ques that can be framed, such as le ers, curios and vintage toys. Framed baby clothes and even boo es can be a deligh ul memory to display.
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What be er way to pay tribute to an event that is dear to your heart than highligh ng a saved cket stub from a special performance? A crea ve way to present apprecia on for a career or talent could be to have a key tool or implement that is iconic to their profession or cra , such as a brush, or even a medical instrument mounted for admira on. Essen ally, if you can name it, there is a high probability that it can be framed. The mo va ons for framing are just as numerous, while there is the nostalgic aspect to capturing a cherished memento in the perfect se ng of a delicately balanced frame, there are more func onal reasons as well, especially as an element in interior design. It can be an embellishment to a home’s mo f that provides a highlight or it can be a bold choice that is the main focal point in a room. Do you have rolled up posters that are si ng in the back of your closet taking up space? A reproduc on print can be elevated visually with a much more esteemed status in a carefully selected arrangement. A poster with eye catching graphics can provide plenty of visual interest and pop to an otherwise blank and neutral space. Always research and make sure that the framer you choose is experienced and has a guarantee of quality on their work. They will make it their priority that your precious items will be handled with conserva on in mind. Do not hesitate to ask ques ons about the methods that will be employed to secure your objects, in regards to their archival quality. In order to prevent fading of colors, be sure to make sure that the glass being used will be providing 99% UV protec on. All items framed properly will be done with archival and ph neutral materials. All needle points and fabric that are being stretched for the framing will always be s tched with care, never stapled or nailed to the substrate. All artworks and paper should never touch the glass. Not only unframed items should be accessed, but framed items as well, as some items framed from decades ago could be mounted on acidic materials, such as cardboard, which can cause discolora on over me. A reframe can give a much needed refreshing update and make an item new again and insuring its integrity over me. As the New Year dawns, and assessments are made on what is needed and what is not; there are treasures that everyone has that are heirlooms from past loved ones, tokens of affec on, or victorious keepsakes that are unques onably special and irreplaceable in their significance. Perhaps, now is the me to start thinking about immortalizing them in a custom framing job that is unique as that par cular item. © Katherine Shevchenko, Art Consultant
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Photography and Design by: Gabriel Diego Delgado
Custom Framing Conservation Museum Fine art Photography shadow boxes Ready-Mades More
Original Paintings Giclees & Prints Picture Lights
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www.jrmooneygalleries.com
Home Accessories
antastic rames A new look for 2016
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Home Accessories
Wall Moulding “8750’s Series 2.50” wide This unique framing sample in three stain color finishes is from the Tuscany series with a two part fabrica on. The top layer of distressed wood swatches are accented with a small mo f fillet edge overtop a simple wood stripping. The series is reminiscent of an American Dougless style frame with segmented rus c lateral burl. This family offers a moulding with strong segment break lines and an ornate inner liner.
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Triple Essence Seasonal Prints Essays of G. Harvey By Gina Martinez 58 38 / / PLUME‐TX PLUME‐TX Magazine Magazine
Reviews/ 20152015 / 2016 Reviews/ Commentary/ Commentary/Exhibi Exhibi ons/ ons/News/ News/Events, Events,Winter Dec.—Jan.
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Consul ng Essays
“The Toy Shop” is a holiday scene that is s ll very familiar to parents and grandparents alike today. Even though the piece depicts another me, all viewers can relate to the feeling created by the work. Snow covers the turn of the twen eth century town. The shorter day has passed and twilight falls upon the streets. The glow from the lamps and lights in the stores create a cozy atmosphere for the people out shopping. They wrap up their errands and prepare to return to the warmth of their homes and love of their families. The protagonist in this scene is a small child who has accompanied his father on this cold wintery day. The child stands at the window of a toy shop. He gently pulls at his father’s coat and points to something in the window. The father, lovingly a en ve to the child, already has a rather large wrapped gi in hand. However, the li le one has spied something in the window, just one more thing he wants for Christmas. With childlike urgency, he tugs at his father’s coat to make sure he knows the importance of the coveted item. The father placates him, as all parents or grandparents do, with his a en on. Maybe what the child wants is already wrapped up in the father’s arms. Perhaps it’s wai ng to be put under the tree and to be discovered as a gi from Santa Claus on Christmas day. The child’s coat is red, the only figure not dressed in black, represen ng the predominant color of the holiday season and the color of Santa’s coat. It also symbolizes the excitement of youth. He is the only figure to face the viewer, and it is deligh ul to feel the impression of his smile, the wide‐eyed wonder and excitement that the holiday season brings out in children and in us all, no ma er the me.
“The child’s coat is red, the only figure not dressed in black, represen ng the predominant color of the holiday season and the color of Santa’s coat. It also symbolizes the excitement of youth.”
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Dashing through the snow, as the old holiday tune goes, the winter winds brush the cheeks of these fes ve riders. Like the automobile of later, people of the nineteenth century not only used the sleigh for daily travel but also to race and for cour ng, as is exemplified in the popular holiday song by James Lord Pierpont. However, here in Harvey’s scene, it is not racers or lovers but rather a group of people, perhaps a family, who enjoy a winter day ou ng. Their joy and excitement is felt in the impressions of their smiling faces and is reinforced by the colorful balloons held ghtly by the figure seated in the back of the sleigh. Their loving pet accompanies them giving the piece an even stronger sense of family and companionship. The late a ernoon light envelops the group as they dash across the
“Their joy and excitement is felt in trail, probably going on to another holiday party. In the the impressions of their smiling yesteryear, during the snowy winter it was common to adorn horses' harnesses with faces and is reinforced by the bells as a way to avoid colorful balloons held ghtly by collisions. The song “Jingle Bells” gave these bells a more celebratory purpose the figure seated in the back of and G. Harvey’s associa on with them and the powdery snow creates a holiday scene the sleigh.” that is nostalgic and fes ve.
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Consul ng Essays
The streets of New Orleans are usually warm and muggy. The mighty Mississippi River can generate enough fog to blanket all of downtown and the Central Business District for days at a me. However, in winter the warm humidity is replaced by a wet cold that all Southerners will swear is worse than any blizzard. This chill permeates the skin all the way to the bone causing most to avoid the outdoors as much as possible during the brief winter. In this print, “Carriage on Canal” G. Harvey depicts a New Orleans gripped by this sort of weather. Harvey chose to depict Canal Street no doubt because it is one of the city’s most recognizable thoroughfares and is an obvious choice for a backdrop to which he may adorn his signature horses, glowing street lamps and people from a bygone era. However, there is significance to choosing Canal Street as the se ng of this piece. Canal Street represents the transi on from old to new which is another predominant theme in Harvey’s works. The median on Canal Street is locally referred to as the “neutral ground” and it played a very important role in New Orleans’ history and Americaniza on. At the turn of the nineteenth century Louisiana was a French colony. In 1803 France sold it, along with a large territory, to The United States. Before this me most people in the city lived in the Vieux Carré (the French Quarter). A er the Louisiana Purchase, a mul tude of American se lers from all over the country flocked to New Orleans forever changing its cultural makeup. The Americans populated the uptown area, choosing to live apart from the Creoles and eventually expanded
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an ar ficial waterway that was never realized. However, as me marched on, the median of Canal Street, where the lady with the umbrella depicted in Harvey’s print stands wai ng for a ride, became known as the neutral ground. It was a place of commerce and frequented by both Americans and Creoles, one of the only places where the two groups mingled. This division lasted into the twen eth century as more immigrants from other countries came to New Orleans thus increasing the diversity of the popula on. In long coats clutching umbrellas the people scurry underneath the warm glow of street lamps and store fronts moving from one des na on to another, trying to stay dry. They come and go, crossing back and forth the cultural boundary divide just as the carriage, street car and automobile which symbolize the progress and unity of the growing city. The woman in the print waits on the neutral grounds for a ride shielded by her umbrella and the thin trees. Approaching is a horse drawn carriage offering shelter and transporta on. The carriage is prominent in the scene while the newer automobile and street cars remain in the background. Harvey has captured a special me in the city’s history.
“It was a place of commerce and frequented by both Americans and Creoles, one of the only places where the two groups mingled. This division lasted into the twen eth century as more immigrants from other countries came to New Orleans thus increasing the diversity of the popula on.”
On Canal Street, the carriage remains regal showing that the old ways s ll work with the modern ones. This is equivalent to the idea that the original French Creole culture of the city can coexist with the American one, especially when they have a place to come together and meet. It is important to the prosperity of the city for the different groups to come together. In Harvey’s world as shown on Canal Street, the horse is equal to the automobile, just as the two cultures are intertwined with one another.
“Toy Shop”, by G. Harvey, Limited Edi on Print on Paper, 24” x 20”, Hand Signed and Numbered “Jingle Bells and Powder Snow”, by G. Harvey, Limited Edi on Print on Paper, 30” x 24”, Hand Singed and Num‐ bered “Carriage on Canal Street”, by G. Harvey, Limited Edi on Print on Paper, 33” x 25”, Hand Signed and Numbered
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Value
Fair Market / After Market Summaries of Current Art Market Selec ons from A er Market
“Mission San Juan”, Julian Onderdonk, Pen and Ink on Paper, 7.5” x 9”
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This drawing by Julian Onderdonk is a rendi on of the San Juan Capistrano Mission in San Antonio, rendered in two‐point perspec ve and is in black pen/ink on paper. The mission church building is in the middle ground of the drawing composi on and is at an angle facing the le . The foreground of the drawing consists of sca ered grasses on the lower right and loose sketches of a bunch of cactus on the lower le . A larger swatch of tall grass is close to the center of the composi on. There is a wood fence that separates the mission area from the foreground vegeta on. The mission façade that faces the viewer is darker in shadow and shading to show tonal value changes, and the angle of the light. There are two small door openings on the le facing façade and a large bush on the le side of the building. The church steeple of the mission is almost in the center of the paper, with two arches on the lower level of the steeple and one arch on the top level of the steeple. The cross extends to the top of the picture plane into the top center of the paper. There are two smaller buildings off to the le of the main mission building in the composi on. This drawing is done with single line crosshatching to show shading. There are no ceable signs of brown mold on the paper due to age. One large area of brown mold is on the cactus in the lower le corner of the drawing. There is a line of brown mold spots that extend along the le side of the paper speckling the sky and the other two small buildings on the le . The paper itself shows significant signs of yellowing with the top edge showing signs of dry and bri le edges. Limi ng condi ons are this drawing is s ll in its frame and cannot be viewed out of the frame. The drawing appears to be in fair condi on. There is evidence of brown molding to the paper on the lower le corner and column of brown mold speckles extending from the top le corner, con nuing down to the midway mark of the paper on the le quarter. There are signs of bri leness and dryness on the top edge of the paper. There are also brown mold speckles on the “l” of the ar st signature in the word Julian as well as the shaded front façade of the mission wall on the right side of the drawing.
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Value
Fair Market / After Market Summaries of Current Art Market Selec ons from A er Market
There were only 13 sketches of Julian Onderdonk recorded in the a er‐market auc on results in the past 5 years. Of those 13 sketches, 11 were auc oned off in the 2014‐2015 year, and 5 of the 13 were done in 2015 in the same auc on lot by Heritage Auc ons in Dallas. It is my professional opinion that sketches by Julian Onderdonk are rare and unique on the a ermarket, most of the recent auc ons have come from the same estate as the item in this appraisal. However, the auc ons for these items were in Dallas, not San Antonio where the ar st was from, and where his credibility, integrity and demand are higher due to his history in San Antonio and the fact that the Wi e Museum in San Antonio possesses a large collec on of his work and ar facts. The 6 that are analyzed here in this appraisal were similar to the landscape format of the Mission drawing I am comparing in this appraisal. The others 6 sketches I chose to omit from comparables of this appraisal included scenes of New York, items of smaller dimensions, and drawings that went to auc on over 5 years ago. It is also important to note that the demand for Texas vintage artwork is on the rise and more dealers, galleries, and collectors of western and Texas art have seen resurgence in sales and interest. The Sales Comparison Approach is a process of analyzing the sales of similar comparable sold proper es in order to derive an indica on of the most probable value of the property being appraised. The Sales Comparison Approach is based upon the assump on that a reasonable prudent person will not pay more to acquire a property than it would cost to acquire a comparable subs tute property, and a prudent seller will not ordinarily sell a property for less than other sellers will be able to get for their similar proper es. Ending highlighted comparable sales: $2,750.00 $1,000.00 $3,750.00 $2,000.00 $1,188.00 $1,625.00
When the comparable a er‐market auc on sales prices are evaluated, the average price was $2,052.16 of the six compared valua ons. However, we must not overlook the fact that we know the exact same drawing sold at auc on in Dallas one year ago and sold for $2,000.00, outside of the dominate market for the ar st’s artwork. The two higher comparison valua ons for the item in this appraisal are over near and over the $3,000.00 range. In my professional opinion, we can place addi onal value to the previous sale of $2,000.00 on this drawing over one year ago for current valua ons of the effec ve date of this appraisal. Given the rise of popularity in Texas vintage artwork, the San Antonio art market for Julian Onderdonk, and the rarity of sketches, my professional opinion is that the Fair Market Value for the “Mission San Juan Capistrano” drawing by Julian Onderdonk is $2,250.00. It is worth no ng that all the drawings went for above the high es mate bid set by the auc on house, reflec ve of the demand for Texas vintage art. Final Assessment: “Mission San Juan Capistrano” by Julian Onderdonk, pen/ink on paper, undated, 7” x 8.5” Fair Market Value: $2,250.00
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“Oblate Fathers”
8.25” x 11”
1921 Pencil and white chalk on paper Sold 10/18/2014 Heritage Auc ons This drawing by Julian Onderdonk is larger in size than the Mission drawing, is unsigned and is in pencil not pen with the accented white chalk details. However, it is considered a Texas Landscape of the Hill Country / San Antonio region. Based off the Heritage auc on records this drawing is from the same estate that the Missions Drawing is from (Eleanor Gould Onderdonk Limpert). The overall condi on of this drawing is similar in quality to the Mission drawing. Heritage Auc ons placed a high es mate bid of $1,200.00 to “Oblate Fathers” with a low es mate bid of $800.00. The final sales price of this drawing was $3,750.00 with an auc on house buyer’s fee of 25%. Sales auc on was one year prior to this effec ve appraisal date. I feel the Mission drawing has importance but the composi on of this drawing is very fluid and is a great example of a Texas Hill Country composi on, a composi on that you can see in the artworks of other significant Texas painters like Randy Peyton and Porfirio Salinas. Because this drawing is a fine example of an Onderdonk drawing and is larger than the Mission drawing, I would place a fair market value for “Mission San Juan Capistrano” below the $3,750.00 sales price.
“Mexican Jacal” 7” x 11” Circa 1899 Pen and Ink on Paper
“Olmos Creek, San Antonio” 1914
Sold on 05/16/2015
7.88” x 10.38”
Heritage Auc ons
1914 Pencil on Paper Sold on 10/18/2014 Heritage Auc ons This drawing is slightly larger than the Mission drawing, the item in this appraisal. It is also unsigned, of less quality in sketch and dra smanship than the Mission drawings, and is in pencil not ink. This drawing is more reflec ve of the ar st’s sketches that were later used as studies for future pain ngs. There is minor shading and value tones in this composi on. The le side of the drawing is under‐resolved and has less mark‐making than the right side. The drawing was also from the same estate as the Mission drawing of this appraisal. Heritage Auc ons had a high es mate bid of $750.00 and a low es mate bid of $500.00 on this drawing at auc on a year prior to the effec ve date of this appraisal. The final sales price was $1,625.00, which includes a 25% buyer’s fee from the auc on house. Due to the insignificant applica on of technique, composi on, and ar s c diligence, I feel in my professional opinion, this drawing is not a good example of the dra smanship of ar st, Julian Onderdonk. However, the tle s pulates where the ar st was pain ng and gives it credibility to his studies in San Antonio. I feel the quality and significance of the Mission drawing is of more importance and would value the “Mission San Juan Capistrano” drawing higher in price than the $1,625.00 price of this comparable.
This drawing by Onderdonk is slightly bigger in size than “Mission San Juan Capistrano” but with less detail. The auc on sale date of this drawing is also six months before the effec ve date of this appraisal. This drawing has slightly more foxing and stains than the one in this appraisal. However, the signature is the same on this drawing as the one in the appraisal, giving a generalized historical meline. Heritage Auc ons had a high es mate bid of this drawing at $1,200.00 and a low es mate bid of $800.00. The finalized auc on sales price was $1,000 which included a 25% buyers’ fee to the auc on house. Even though this drawing is slightly larger than the Mission drawing, it is my professional opinion that more value can be placed on the Mission drawing due to its geographical loca on and the subject ma er importance to the sales market of this drawing. I would place the value of “Mission San Juan Capistrano” higher than the $1,000.00 sales price of the “Mexican Jacal”.
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016,
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Art Openings
Second Saturday Art & Wine Crawl at Carriage House Gallery of Ar sts December 12, 2015.
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FINDING THE TRUTH IN THE PROVENANCE A STORY OF THE REDFLAG STICKER By Gabriel Diego Delgado
“Jardin de la Revolu on, Guanajuato, Mexico” by Lloyd Goff, a watercolor and gouache on paper pain ng measuring 11” x 15” is also known as “Volcano (Agua) An qua, Guatemala”. This pain ng was recently in a regional art exhibi on in Texas with a provenance of exhibi on history at the Whitney Museum of American Art. However as I dug through auc on records to verify the facts of this story, I uncovered an interes ng debacle. The pain ng was recently reframed and on the new dustcover, covering the back of the canvas was an exhibi on label for the Whitney show in 1954. However, since the label was not affixed to the back of the pain ng directly, it could have been acquisi oned at another me and a ached when the reframe was done. Heritage Auc ons in Dallas auc oned this pain ng before the reframe under the second tle with photographs of the condi on of the pain ng. This is where this story picks up.
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In my professional opinion a er viewing the photographs online of this pain ng before the re‐frame and at auc on in 2007, I believe the actual tle of the pain ng to be: “Volcano (Agua) An qua, Guatemala.” When we compare images of the actual city, taking into considera on that the composi on of this pain ng revolves around a large domina ng mountain/ volcano, we can compare it to the actual city design of An gue, Guatemala. The main plaza, the Arch of An gue and the grid like pa ern of the internal street and
alley structure revolve around the volcano. In my professional opinion the architecture with the arches and main arch are exactly what Goff was pain ng in this scene. There is not a solo mountain that dominates the landscape in Guanajuato, Mexico. It is within a mountain range, but does not contain one that overlooks the city as the ar st has depicted in the pain ng composi on.
“...tape holding the s cker in place has been cut and removed, If you analyze the museum exhibi on label on the back of the pain ng in its current state with updated frame, you can see indica ng the s cker that the tape holding the s cker in place has been cut and ng the s cker has been removed from its has been removed from removed, indica original backing and placed on this new piece of cardboard. its original backing and Exhibi on s ckers, ar st endorsements, and signatures are o en removed from old dust covers and preserved on the new dust cover during a reframe, but due to the discovery of the placed on this new pain ng under another name and photographic proof of its piece of cardboard.” actual original name, I feel the label does not belong to this pain ng. Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016,
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Inves ga ve Repor ng
However, since the pain ng has gone to auc on as the wrong name and is now registered as this tle, a paper trail has been created using the new “iden ty.” The assessment can only be based off of size, medium, technique, and aesthe c. Museum exhibi on provenance will be disregarded. For the iden ty of this pain ng I will conclude the original tle of this pain ng as “Volcano (Agua) An qua, Guatemala.” Photographs of “Volcano (Agua) An qua, Guatemala.” Images are taken from www.liveauc onworld.com website that references the Heritage Auc ons sale of this pain ng in2007. The label verso in the upper le corner reveals it was shown and exhibited at the Kraushaar Gallery on 57th Street in New York City. The ar st inscrip on in pencil shows the original tle. This pain ng was not on exhibi on at the Whitney Museum of American Art in 1954. By: Gabriel Diego Delgado
“The assessment can only be based off of size, medium, technique, and aesthe c….Museum exhibi on provenance will be disregarded.”
Sources: www.liveauc onworld.com , www.askart.com , www.artprice.com
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Events
B
oerne
2
Yogi Berra once said, “If you don't know where you are going, you'll end up someplace else.” In other words, planning is the key to ge ng where you want to be. We should regard this message as a wise statement now and every day that seems to ramble on with pointless boredom. By the way, President Barack Obama awarded Yogi Berra the Presiden al Medal of Freedom, which compares to the Congressional Gold Medal, and is bestowed by an act of U.S. Congress—the highest civilian award of the United States. We all can hope for a produc ve and par cularly fun year, so why not be unique and plan. Below is a list of exci ng events in and around the Texas Hill Country throughout the New Year 2016! New Braunfels An que Show Friday 1/8 – 11 am to 7 pm Saturday 1/9 – 9 am to 5 pm Sunday 1/10 – 10 am to 4 pm Admission: Adults $6.00, Children 9‐12 $3.00, Free for 8 & Under, FREE PARKING h p://www.heritageeventcompany.com/ event/new‐braunfels‐an que‐show/ Live at the Library – Boerne Public Library Founda on Please Note: Due to the need for a larger performance space, this concert will be held outside of the library. It will be at Kendall Halle at Ye Kendall Inn. January 15, 6:30 PM to 8:00 PM FREE Colombian Espresso Edmar Castaneda (harp) has taken the world stage by storm with the sheer force of his virtuosic command. “His hands, seemingly powered by two different people, a rapid‐fire of chords, balance of melodic figures and drive are served with euphoric La n American rhythms….” h p://boernelibraryfounda on.org/event/live‐at‐the‐library‐2/
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New to Boerne By: Melisa Adriana Belgara
Luckenbach's 9th Annual Blues Fes val January 23, from 12:00 PM ‐ 11:00 PM Tickets: $30 each, only 400 dancehall ckets ‐ limited number! h p://www.visi redericksburgtx.com/events/9th‐annual‐ luckenbach‐blues‐fes val/ Premium Tequila Tas ngs & Taco Pairings Jan. 28 and Feb. 25, 2016, 6 – 8 pm Cost: $118.00 per adult, must be at least 21 years of age. Please bring your iden fica on with you. Tacos and Tequila, 1915 Broadway Street Capacity: We can accommodate from 6 to 24 people, must have a minimum of 6 people for event. What is Included: Tas ngs of 5 premium tequilas paired with dishes of La n Cuisine by Execu ve Chef. Learn the proper way to taste tequila. Pilón (Bonus): Fun historical facts about tequila and the tequileros, the smugglers who brought tequila into the United States from Mexico during the Prohibi on Era. h p://www.sazoninthecity.com/tours/ Boerne Chocolate Walk February 13, 2016 ‐ 11 am ‐ 5 pm Tickets go on sale beginning January 13, 2016 Tickets: $20 per cket Tickets can be purchased over the phone (830‐249‐9511, op on 5) or online with a credit card or in the Parks & Recrea on Office (1017 Adler St) with cash, check or credit card. cket includes: ‐ a map of the par cipa ng businesses ‐a bag to collect your treats ‐ a raffle cket h p://www.boerne‐tx.gov/602/Boerne‐Chocolate‐Walk
Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016,
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Events Sakura: The Silk Road Ensemble Sunday, April 10, 2016 at 6:30pm ‐ 8:30pm Three outstanding interna onal ar sts and members of The Silk Road Ensemble will come together for Sakura, the Japanese term for Cherry Blossom! Japanese Koto & Shamisen player and songwriter Sumie (Sumi‐é) Kaneko has been recognized as a pioneer of uniquely chroma c instrumenta on. A musical evening at San Fernando Cathedral. h ps://www.facebook.com/events/1002150689829128/ 125th Fiesta San Antonio – 2016 April 14‐24 Fiesta® San Antonio started in 1891 as a one‐parade event. It evolved into one of this na on’s premier fes vals, with an economic impact of more than $284 million for the Alamo City. Fiesta® is the Party with a purpose. h p://www.fiesta‐sa.org/events 2016 Wine Tourism Conference November 8‐10, 2016, Fredericksburg Seminars, discussions, and business informa on about growing and improving wine tourism. Wine Tourism Conference Director, Allan Wright, said, “The Wine Tourism Conference will bring wine tourism industry leaders from throughout the country and world to Texas. This is not only a great opportunity for Texans to meet and learn from top wine tourism experts but also a showcase for the booming wine tourism industry in the state.” h p://winetourismconference.org/events/ By: Melisa Adriana Belgara
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Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016
Happy Holidays from .R. Mooney Galleries of Fine Art– Boerne, TX.
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Press Releases For Immediate Release Victoria Regional Museum Associa on, Inc., The Nave Museum 306 W. Commercial St. Victoria, Texas (361) 575‐8227 www.navemuseum.com info@navemuseum.com January 14, 2016 (Victoria)— Texas Landscapes at The Nave Museum exhibi ng January 14 –February 24, 2016. Beginning January 14th through February 24th, four notable Texas Landscape painters will be presented in an exci ng new exhibit by VRMA‐The Nave Museum, trea ng residents of the Cross Roads area to a beau ful collec on of Texas views. The exhibi on en tled, Texas Landscapes features works by four significant and prolific ar sts working in the state today, all focused on the remarkable allure of our Texas vistas. Par cipa ng ar sts include: Cliff Cavin (San Antonio), Noe Perez (Corpus Chris ), Eric Harrison (Blanco), and Robert Harrison (San Antonio). These ar sts find their inspira on in their Texas surroundings. In an exhibit tailor‐made to strike a chord with our community, these ar sts share a love of the unique beauty inherent in a Texas landscape. Visitors will enjoy familiar sights expressed masterfully in pain ngs that will evoke a sense of solidarity with the spirit and ethos of Texas. Cliff Cavin was born in San Antonio, Texas and has been pain ng for over thirty years. He has studied under such notable ar sts as Warren Hunter, George Hughey, William Reese and Wilson Hurley. His pain ngs have won numerous awards and are collected both na onally and interna onally in private and corporate collec ons. He has exhibited in the United States and abroad and has par cipated in several cultural art exchanges, auc ons and benefits for charitable organiza ons. Although equally talented in oils and watercolors, his primary focus is on oil pain ng, par cularly the landscape. The immediacy and directness of his work emphasize the strength and grandeur of nature while his use of color defines the gentleness and beauty he finds in the natural world. These quali es, coupled with his keen observa on, create a clarity and sensi vity in his work that truly express the emo onal quali es of his environment. Cliff Cavin is a landscape purist, dedicated to the capturing of light.
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Noe Perez was born and raised in Falfurrias, Texas. Interested in art from a young age, Perez’s ar s c educa on began in his early teens as he studied with various local ar sts. Despite his love of art, he chose to major in engineering. Perez earned his bachelor of science degree in civil engineering at A&I University and he con nues to work in that field today. Unwilling to put aside his intense interest in art, Perez has con nued to advance his ar s c abili es, a ending plein air pain ng workshops with Plein‐Air Painters of America ar sts Ron Rencher and George Strickland. Much of his work is done in the studio from photographs and plein air studies. Perez believes that plein air pain ng is an essen al exercise for any landscape painter and he paints outdoors whenever possible. He paints the South Texas landscape—dusty terrain do ed with low brush and cactus in bright sunlight—using beau fully realis c colors that are equally muted and vibrant. Noe Perez is a master at capturing the beauty and essence of South Texas. Eric Harrison was born in 1971 in San Antonio, Texas. In 1995, he married Kim Marie, and together they have two sons, Noah and Ethan. The Harrisons now reside in the hill country west of Blanco, Texas. Currently pain ng in a language resonant with other Texas ar sts such as Robert and Julian Onderdonk, Robert Wood, Porfirio Salinas, Dawson Watson, and Robert Harrison. His style evokes an affinity with the work of California painter William Wendt, Paul Cezanne and many of the post impressionists. Exhibi ons and collec ons of his work include The University of Texas at San Antonio, Buckhorn Museum San Antonio, Best of the Best Art Show Salado, Alamo Kiwanis Western Art Show, and many private collec ons throughout the United States. In Eric’s own words he explains that “My art is the result of my thoughts and feelings about the place where I live. Freedom, imagina on, and encounter with Nature are the source from which these visions are realized. Ul mately, these pain ngs stand as evidence of a life being lived, and above all are meant to be seen, so as you look at the pain ngs allow your eye to wander and your mind to wonder." Robert Harrison was born in San Antonio, Texas, and grew up in the Wimberley area. Robert never had any formal art training. He learned ini ally from his Grandmother and is primarily self‐taught. For many years, Harrison showed his work exclusively with Louis Marshall at Marshall's Brocante in San Antonio. He has lived in San Antonio most of his life. His love of the Hill Country is evident in his pain ngs, and he is considered by many art authori es to be the best living landscape ar st in Texas. Cecilia Steinfeld, curator emeritus of the Wi e Museum, listed him as one of the Top Ten bluebonnet painters of all me in an ar cle in Southwest Art Magazine, April 1985. Harrison is best known for his bluebonnet scenes, but he also paints Texas landscapes of other seasons and areas of Texas other than the Hill Country. His work has been featured in San Antonio Magazine, Southwest Art Magazine, and Art Interna onal. Texas Landscapes takes viewers on a sen mental tour of familiar subjects, but with fresh unique perspec ves. Striking images of a grand and diverse Texas landscape prevail, as do engaging pain ngs of the dis nc ve flora and fauna of the Lone Star countryside. The dis nc ve works contained in the exhibi on expertly capture and celebrate the richness and diversity of our great state. Texas Landscapes is a “must see” exhibi on for Victoria area art patrons, and is certain to bring great viewing pleasure to the community. Come enjoy pain ngs by four talented Texans that share the pride and admira on we all feel for our Lone Star home. Special Events On View: January 14‐ February 24, 2016 (12‐6pm, Tuesday‐Friday; 12‐4pm, Saturday‐Sunday) Opening Recep on: Thursday January 14, 6‐8 pm Patron Party hosted by the Victoria Art League: Thursday, January 14 8‐10pm Loca on VRMA‐The Nave Museum 306 W. Commercial St. Victoria, Texas 361‐575‐8228 www.navemuseum.com About The Nave Museum The only art museum in the Crossroads area, The Nave Museum features six to eight diverse and compelling exhibits each year, both classical and modern. The mission of the Nave Museum is “Reaching out to enrich, enlighten and educate through visual and cultural art”. Reviews/ Commentary/ Exhibi ons/ News/ Events, Dec.—Jan. 2015 / 2016,
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