BUFFET CATALOGUE

Guarisco Gallery

B.Buffet

Nature Morte au fond Rouge 39” x 53” fr.

Welcome to Guarisco Gallery GUARISCO GALLERY is one of the largest and leading international art galleries worldwide, specializing in top quality, museum-level, 19th, 20th, and 21st century paintings and sculptures.

Our uniqueness stems from our exceptionally large inventory, all owned by Guarisco Gallery. We offer a wide range of competitive prices that appeal to both the new and experienced collector. Only its exceptional beauty rivals the high quality of our collection. The gallery staff offers expert consultation and excellent service for both corporate and private clients.

It is our belief that collecting should be ‘FUN’ and enhance one’s ‘Quality of Life’ !

SERVICES INCLUDE: • EXPERTISE AND ADVISING—We provide: quality and condition determination, fair market price analysis, art historical research, museumlevel conservation and framing.

• SELECTIVITY—Guarisco Gallery only buys and recommends the top 10% of an artist’s work.

• SAVINGS— Guarisco Gallery believes that it is our responsibility to do the selective shopping and tough negotiating on behalf of our clients. In addition, because Guarisco Gallery buys extensively, we are in a position to have “buying power.”

Hence… better pricing.

J.P. Cassigneul

Matin, 2018 44” x 36 5/8” fr.

• CONVENIENCE—We provide full service collecting support, including museum-level conservation and framing with world wide shipping services.

• GUARANTEES—Guarisco Gallery guarantees authenticity and condition.

19TH c. Academic

Collections

Impressionist

Early Modern

Contemporary 3

Pierre-Auguste Renoir (1841–1919)

Renoir is arguably the best loved of all the Impressionists. His subjects have instant appeal—pretty children, colorful arrangements of fruits and flowers, beautiful women, and intimate scenes of family life. The artist was also recognized by the critics as one of the greatest and most independent painters of the period. RENOIR was known for the harmony and brilliance of his color, the curvilinear quality of his line, and the charm of his subjects.

CAGNES-SUR-MER Renoir spent the last eleven years of his life at Les Collettes, his estate in Cagnes-sur-Mer, a village in the south of France. The mild climate, view of the Mediterranean, and rustic landscape, including an ancient olive grove, inspired many of Renoir’s later landscape paintings. This late landscape is notable for the artist’s bright, high-keyed, impressionist palette and his characteristic bravura brushwork, with feathery brushstrokes alternating with thick expressive lines of color.

4

P.A. Renoir

Paysage: arbres et maison (Paysages de Cagnes), c. 1905, 27” x 30 ½” fr.

Literature: Meier-Graefe, Julius, Renoir, p. 376 Dauberville, Guy-Patrice and Michel, Renoir, Catalogue raisonné des tableaux, pastels, dessins et aquarelles, (Paris, Bernheim-Jeune), vol. 4

5

Impressionism

T

“Masters of the New Vision”

he emergence of IMPRESSIONISM in late 19th-century Paris can arguably be defined as the beginning of modern art. It all began in 1874 with a group of artists, who, after being rejected by the official Paris Salon for not adhering to the fundamental standards of the Academy, organized the first of eight independent exhibitions. The founding members of the Impressionists who organized these important exhibitions included: CLAUDE MONET, CAMILLE PISSARRO, AUGUSTE RENOIR, ALFRED SISLEY, EDGAR DEGAS, BERTHE MORISOT, ARMAND GUILLAUMIN, and many others. Although they exhibited work together for just twelve years, from 1874 to 1886, many of these painters continued to work in an impressionist mode for another thirty years (as in the case of Monet who continued to work in the impressionist style up until his death in 1926. The loosely defined stylistic period that followed the last Impressionist exhibition in 1886 is termed Post-Impressionism and runs from 1886–1910, concurrently with Impressionism.

The imperfect term POST-IMPRESSIONISM is not useful in describing a distinct stylistic change from Impressionist painting, but rather a general expression describing the time period during which a gradual evolution to modern art occurred after the emergence of the Impressionist movement.

While art historians attempt to clearly define artistic movements, in reality this is nearly impossible to do. Many painting movements overlapped and occurred concurrently; and most painters dabbled in a multitude of painting styles, especially during the emergence of numerous different visual modes during the late-19th century. These modes—Pointillism, Fauvism, Symbolism, Cloisonnism, and others—are all loosely lumped together under the term Post-Impressionism, which most effectively defines a particular period of time (1886–1910) and not a particular style or styles. •

Style Innovative style changes from the realistic or ACADEMIC painters to the modern IMPRESSIONISTS were quite significant. The centuries-old academic approach was to layer the paint onto the canvas using thin translucent glazes; in contrast, the Impressionists applied paint in a single layer, placing different colors sideby-side to create an illusion of blended color when viewed from a distance. Academically trained artists utilized extremely fine brushwork, while the Impressionists employed visible feathery or bold brushstrokes. Academic painters outlined their subject with precise hard edges usually in black or dark brown; the Impressionists defined their subject matter not with drawn line but through the juxtaposition of pure, non-blended color.

IMPRESSIONISTS were dedicated to the study of light and its effects on color and form. From experiments with the prism, Impressionists developed a truly unique application of paint that allowed the viewer’s eye to blend dabs of color to create an image or impression rather than for the artist to create images with broad areas of color blended on the palette. This technique, called OPTICAL MIXING, was applied to a wholly different subject matter.

Subject Matter

Great changes occurred in the depiction of subject matter from the ACADEMIC tradition to the IMPRESSIONIST movement. Subject matter no longer had to be allegorical, edifying, or narrative. Instead, preferred subject matter was for predominantly aesthetic pleasure—the everyday became celebrated and “art for art’s sake.”

The invention of photography affected the composition of modern painters, while at the same time had a strong influence on the choice of subject matter. The camera captured moments that reflected a ‘split’ second in time—an instant in time that would usually not be worthy for attention. These moments usually caught the sitter unaware. For these reasons, subjects involving the bath or one’s toilette became popular for the Impressionists.

6

INFLUENCES THE BARBIZON SCHOOL • Artists of the Barbizon School painted landscapes directly from nature, with a loose paint application, en plein air, or out-of-doors.Eschewing urban and industrial life, Barbizon painters choose to paint in the forest of Fontainebleau outside of Paris during the 1840s and 1850s.

SCIENCE AND TECHNOLOGY • The invention of paint in tubes and the transportable, collapsible easel allowed artists to paint en plein air and in remote locations. The ability to depict natural light became the primary focus of plein-air painters.

• The invention of photography and the growth of use of the camera—increased the appreciation for spontaneity and immediacy; decreased interest in standard balanced panoramic compositions; increased interest in unusual cropping and asymmetrical compositions.

• The discovery of new dyes and artificial pigments— allowed the Impressionists to extend their color range.

Literature: Tableaux de Sisley (exh. cat. Galeries Durand-Ruel, 1930) * Sisley (exh. cat. Galerie Paul Rosenberg, 1939 * Daulte, Alfred Sisley: Catalogue Raisonné de l’oeuvre peint (Paris, 1959) * Masterworks of the XIXth and XXth century: 40th anniversary loan exhibition 1928-1968 (exh. cat. Hammer Galleries, 1968) * The Armand Hammer Collection (exh. cat. (Brooks Memorial Gallery, Memphis, 1969) * The Armand Hammer Collection (exh. cat. Smithsonian Instititution, 1970) Exhibitions: Galeries Durand-Ruel, Paris, 1930; Galerie Paul Rosenberg, Paris, 1939; Hammer Galleries, New York, 1968; Brooks Memorial Art Gallery, Memphis, 1969; The Smithsonian Institution, Washington, D.C., 1970.

A. Sisley

Bords du Loing, 1892 21 ½” x 25” fr.

7

FOUNDING MEMBERS OF IMPRESSIONISM Eugène Boudin (1824–1898) Auguste Renoir (1841–1919) Camille Pissarro (1836–1903) Berthe Morisot (1841–1895)

Claude Monet (1840–1926) Edgar Degas (1834–1917) Alfred Sisley (1839–1899) Armand Guillaumin (1841–1927)

LATER IMPRESSIONISTS Paul Gauguin (1848–1903) Mary Cassatt (1845–1926) Gustave Caillebotte (1848–1894)

Paul Cézanne (1839–1906) Jean François Raffaelli (1850–1924) Odilon Redon (1840–1916)

Picabia is considered one of the most important and influential figures of early Modernism. He was associated with numerous modernist movements, including: Impressionism, Fauvism, Futurism, Vorticism, Orphism, and Dada. PICABIA is, however, best known for energetically questioning prevailing attitudes about art and for helping to disseminate, through his publications, avant-garde ideas. Starting with the Impressionist tradition, Picabia began exhibiting his works at the Salon d’Automne and the Salon des Indépendents. His palette varied from the soft feathery brushwork of Monet to the pointillist, thickly applied paint style of Signac.

Picabia did a series of paintings in 1906 depicting the city of Paris.

The earliest of these was Saint-Germain l’Auxerrois. Church of Saint-Germain L’Auxerroie was founded in the 7th century. The church has been rebuilt and remodeled over the centuries, resulting in a combination of Romanesque, Gothic, and Renaissance elements. Among the treasures preserved inside is a 15th century wooden statue of Saint-Germain. **Picabia’s heavy impasto and gestural palette knife-work capture the fleeting effects of brilliant sunlight and sense of spontaneity.

8

CONTEMPORARIES OF FOUNDING IMPRESSIONISTS & THE POST-IMPRESSIONISTS Albert André (1869–1954) Maximilien Luce (1858–1941) Henri Martin (1860–1943) Pierre Eugène Montézin (1874–1946) Gustave Loiseau (1865–1935) Jac Martin-Ferrières (1893–1974) Émile Bernard (1868–1941) Louis Joseph Gaidan (1847–1925) Paul-Émile Pissarro (1884–1972)

Henri Lebasque (1865–1937) Henry Moret (1856–1913) Georges d’Espagnat (1870–1950) Maxime Maufra (1861–1918) Georges Manzana Pissarro (1871–1961) Emile Schuffenecker (1851–1934) Jean-Baptiste Olive (1848–1936) Émile Alfred Dezaunay (1854–1940) Edmond Marie Petitjean (1844–1925)

Detail of Saint-Germain l’Auxerrois, Paris

Literature: Camfield, Arnauld, Clements, Calté, et. al., Francis Picabia Catalogue Raisonné (1898–1914), vol. 1, (New Haven and London, 2014), vol. 1, pg. 238, no. 233 (color illus.) (inv. no. 294)

F. Picabia

Saint-Germain l’Auxerrois, Paris, c. 1905/6 33” x 37 ¼” fr.

9

10

G. Loiseau

Les Falaises d’ Yport (Cliffs at Yport), 1924 32 ½” x 37 ½” fr.

LOISEAU

No Post-Impressionist painter embodied the doctrine of painting directly from nature more ardently than GUSTAVE LOISEAU. His oeuvre consists of images, or impressions, that LOISEAU observed firsthand and depicted with a loose but vibrant brushstroke and a bright, high-keyed palette. Often the same view afforded a multitude of interpretations if observed at varying times of the day or during seasonal changes of the year.

G. Loiseau

L’avant port de Dieppe, 1903 25” x 28 ½” fr.

U. Caputo

The Open Window 23” x 19 7/8” fr.

Dieppe is an ancient port on the northern coast of France in the region of Normandy. With the widespread development of railroads in the 1860s and 1870s, regions such as Brittany and Normandy became accessible from Paris for tourists and artists. The northern coasts of France were particularly appealing to the Impressionists and Post-Impressionists due to their soft diffusive light, picturesque ports, and dramatic landscapes and cliff sides.

11

12

C.E. Schuffenecker

Le Square (au Luxembourg) 1885, 43” x 49 ½” fr.

Pointillism and D ivisionism

T

he POST-IMPRESSIONIST period was a hothouse of varied artistic philosophies, including Pointillism, Symbolism, Fauvism, and many others. Pointillism, derived from the scientific study of Impressionism by SEURAT and SIGNAC, developed in 1886. Pointillism, a form of divisionism, is a movement in painting in which small, distinct dots of pure color are applied to a canvas in patterns to form an image. Unlike the ACADEMIC artists who blended color on the palette before applying paint to canvas, pointillism relied on the ability of the eye and mind of the viewer to blend color spots into clearer and more defined forms.

In 1884, CLAUDE-EMILE SCHUFFENECKER, along with Georges Seurat, Henri Cross, Odilon Redon, Louis Valtat, and Paul Signac founded the avant-garde Groupe des Artistes Indépendants. Le Square (au Luxembourg) was exhibited at the Salon des ndépendants in 1885.

Le Square au Luxembourg was one of ten paintings by Schuffenecker exhibited at the Volpini Exhibition at the Café des Arts in Paris in 1889. Organized by Schuffenecker, the Volpini Exhibition was a seminal art historical event, bringing together for the first time works by artists who would eventually be known as the POST-IMPRESSIONISTS, including: PAUL GAUGUIN, EMILE BERNARD and LOUIS ANQUETIN.

P. de Belay

Le port d’Audierne , 31” x 36 ½” fr.

P. de Belay

Nature morte aux poissons (1946), 23 ½” x 31” fr.

13

LebasqueCollection

Jeune femme promenade dans le parc 11” x 16” fr.

Le Parasol, Baie de Douarnenez, c. 1924 32” x 43” fr.

HENRI LEBASQUE experimented with several Post-impressionist innovations including Pointillism, Fauvism, and Intimisme, before arriving at a style uniquely his own.

The artist combined the bright and boldly contrasting colors of MATISSE’S Fauves with the intimate subject matter of BONNARD, and the planar compositions of CÉZANNE. ! Inquire about our entire Lebasque Collection !

14

Nu sur un divan, c. 1930 27” x 37 ¼” fr.

H. LeBasque Tennis sur la terrase, Préfailles, 1922 , 33 5/8” x 44 ¼” fr.

Literature: Bazetoux, Henri Lebasque: Catalogue raisonné (2008), pg. 28 (color illus), 141 (no. 429) (illus)

15

G. d’Espagnat Pommes et poires, c. 1910 , 11 ½” x 13 ½” fr

ALBERT ANDRÉ was a major French Post-Impressionist painter who became a protégé and close friend of Renoir. In 1894, André exhibited five paintings at the avant-garde Salon des Indépendants, where he caught the attention of Renoir.

Following Renoir’s death, André authored a biography of the artist considered by many contemporaries as the most accurate account of the artist’s work; and in 1921, André organized a retrospective of his mentor’s work at the Durand-Ruel Gallery in Paris.

V.Gilbert

La vendeuse des pommes 37 ½” x 32 ½” fr.

A. Andre

16

A Still Life with Fruit, c. 1908 28” x 33” fr.

d'Espagnat GEORGES d’ESPAGNAT enjoys a firm place among the masters of twentieth-century French art. A painter and an engraver of great renown, d’Espagnat specialized in floral still-lifes, landscapes, and genre scenes of women and children. The artist helped found the Salon d’Automne in 1903 and was represented by the leading Impressionist and Post-Impressionist gallery in Paris, Galerie Durand-Ruel.

l’Homme assis, c. 1910 49 ½” x 36” fr.

Bouquet des Fleur, c. 1910 30” x 26” fr.

17

P. Gobillard Nature morte aux jonquilles, c. 1905 29” x 25” fr.

A. Dannenberg

Deux enfants au jardin, 30 ¼” x 37 9⁄16” fr.

G. d’Espagnat 18

La Lecture au Jardin, c. 1898/99 66 ¾” x 52” fr.

F. Puigaudeau Les Bulles de Savon, 1896, 28 7/8” x 34 ¾” fr.

***Puigaudeau was famous for portraying both natural and artificial light, which few artist were able to achieve. Night scenes of religious festivals and processions in Brittany were favored subjects.

19

J. Martin-Ferrières

Coquelicots et Marguerites 1927 32 ½” x 39” fr.

G. d’Espagnat

20

Femme lisant dans un jardin, c. 1915 31 ½” x 37 ¾” fr.

M. Maufra

La Rance à Dinan, le soir (1914), 43 ¾” x 51” fr.

21

J. Martin-Ferrières Triptych: Collioure. 1933 , 29 ½” x 86” (total length) fr.

22

The ancient French port of Collioure is located on the Mediterranean coast, just fifteen miles from the Spanish border. Known for its brilliant light, gentle hills, and medieval town, Collioure has attracted artists since the beginning of the twentieth century, including: Matisse, Derain, Picasso, and Braque.

JAC MARTIN-FERRIÈRES painted this tri-partite panoramic view of Collioure, depicting the fisherman hauling in their catch for the day and laying them on the quay to dry in the sun. * The artist’s father HENRI MARTIN settled in 1923 in Collioure, where he executed a series of paintings depicting the port with its fishing boats, surrounding hills and medieval ramparts.

23

I

MPRESSIONISM was an approach to art adopted by artists throughout the world, especially in America, continental Europe, and Great Britain. BRITISH IMPRESSIONISM lasted roughly from 1880–1910 and evolved not only from the French, but also from their own landscape masters, J.M.W. Turner and John Constable.

BRITISH ARTISTS: Walter Sickert, Philip Wilson Steer, John Lavery, Sidney Starr, George Clausen

WILFRID GABRIEL DE GLEHN was one of Britain’s most

important Impressionists, whose career spanned Britain, continental Europe, and the United States. Like his contemporary and friend, the American Impressionist John Singer Sargent, DE GLEHN specialized in impressionistically rendered portraits, landscapes and genre scenes.

A. Andre

The Bouquet (View from the Artist’s Studio, Paris) c. 1900, 32” x 36” unfr.

W.G. de Glehn

24

Blonde Model in White Dress with Italiante Garden in Background 25 ½” x 29 ½” fr.

J.B. Olive

Marseille, La Corniche, 37” x 48” fr.

25

LA FAMILLE DE PISSARRO

Pissarro

Over Four Generations

P.E. Pissarro

Bord de l’Orne, 1935, 40 ¼” x 48” fr.

H.C. Pissarro

Brécy-sur-Aune, La Rivière , 21 ½” x 24 ¾” fr.

Camille Jacob Pissarro (1830 - 1903) = Julie Vellay (1838 - 1926)

Lucien (1863-1944) = Esther Bensusan

Jeann (Minette) (1865-74)

Georges Henri (Manzana)

Félix (Titi) (1874-97)

(1871-1961)

= 1 Esther Isaacson = Amice Brécy = Blanche Morisot (Roboa) Orovida

(1893-1968)

Anthony

26

Tommy

Richard = Josephine

Flore = Leonce Gandovin

Aziza

Ludovic-Rod (1878-1952)

= Fernande Perrinet

Jeanne (Cocotte) (1881-1948)

= Alexandre Bonin

Paul-Emile (Paulémile) (1884-1972)

= 1 Berthe Bennaiché = 2 Yvonne Beaupel

Félix (II) = Marie-Louise

Madeleine = Pierre Oustry

André = Margeurite

Henri = Simone

Claude = Sylvie

H. Claude (Pomié) (b. 1935)

= 1 Katia Marrec

Yvon (b.1937)

= Laura Corti = Elizabth Garcie (Betty)

Vera = Daniel Savary

H.C. Pissarro Octobre à l’Etang des Guillemettes, 23 x 28 ½” fr

H.C. Pissarro

Les Voiliers de la Durance, c. 2017, 23” x 28 3/8” fr.

H.C. Pissarro

Le Mare des canards, chez Jean, 28 ¼” x 32 ½” fr.

H.C. Pissarro

Le Moulin du Vey 23 ¾” x 29 ¼” fr.

27

American Impressionism Of the many national movements that followed French Impressionism, American Impressionism was closest in spirit.

AMERICANS ABROAD The formal training offered by early American art academies lacked the breadth and depth of the artistic education available in Europe. Aspiring American artists traveled abroad to receive a more thorough technical training. Many of America’s premiere impressionist painters made pilgrimages to France, including: Theodore Robinson, Theodore Butler, Richard Miller, Karl Buehr, John Henry Twachtman, and Childe Hassam.

AMERICANS AT HOME The Pennsylvania Academy of the Fine Arts, founded in 1805, and the National Academy of Design in New York, established in 1825, were the first academies for American artists. By the end of the 19th century, P.A.F.A. and N.A.D.’s annual exhibitions, and those of the Art Institute of Chicago, attracted widespread public attention and led to a greater acceptance of American artists.

THE AMERICAN ACADEMIES

J.C. Beckwith

A Sylvan Toilette, c. 1898 38 ¾” x 31” fr.

28

Pennsylvania Academy of the Fine Arts

Philadelphia

est. 1805

National Academy of Design

New York

est. 1825

Museum and School of Fine Arts

Boston

est. 1870

Art Institute

Chicago

est. 1866

Art Students League

New York

est. 1875

*The depiction of the nude was the highest form of representation in the arts. Most often, nudity needed to be depicted in the guise of mythology. In this case, the inclusion of the cupid defines this contemporary model is the goddess Venus, known for her beauty*

Hitchcock

GEORGE HITCHCOCK is an American Impressionist painter best known for his brilliantly colored pictures of Dutch tulip fields, peasant women, and mystical religious scenes. Hitchcock studied in London, Paris, and The Hague, before establishing himself in the small town of Edmond-aan-Zee, where he became known as the Impressionist interpreter of the Dutch Landscape.

The White Lilies

A prime example of the artist’s work, Lilies was executed at the height of Hitchcock’s career.

Bravura brushwork and expressive impasto— thick application of paint—convey the many different textures of the garden, house, and young woman’s costume. The high-keyed palette of white, yellow, green, and purple contribute to the overall luminosity of scene. The decorative pattern on the sitter’s skirt, the embroidery on the blouse, the swirling brushwork of the pansies, and the strong vertical lilies enliven the otherwise tranquil composition.

G. Hitchcock

The White Lilies, 1895 55 ¾” x 47 ½” fr.

29

W. Irvine

The Tea Party with the Artist’s Daughter, Lois, c. 1930 41 ½” x 39 ½” fr.

30

A. Friedman

W. Sheppard

Venice, the French Gardens, c. 1920 20 5/8” x 28 5/8” fr

Untitled (Red Wheelbarrow), New York Harbor Scene, c. 1940 15 ¾” x 19” fr.

WILSON HENRY IRVINE

(1869–1936) American Impressionist and Post-Impressionist * Founder of the Prismatic Technique of Painting * IRVINE was one of the foremost landscape, still life, and figurative painters in turn-of-the century America. The artist was among one of the first associated with the Impressionist colony at OLD LYME, Connecticut. There, he painted alongside other artists in the light-filled, loose manner of the French Impressionists.

He exhibited at many of the major American venues including: Carnegie Institute, Art Institute of Chicago, National Academy of Design, Museum of Fine Arts, Boston; and Lyme Art Association.

PRISMATIC PAINTING

Irvine originated a specific type of impressionist painting known as ‘PRISMATIC PAINTING.’ The concept behind this approach is for the artist to view his subject through an actual glass prism; his brush is then guided by what he observes through the prism. Works created in this manner have no sharp edges. Instead, light, color, and line are diffused. Irvine first exhibited works at Grand Central Art Galleries in New York in 1930.

W. Irvine

Spring Thaw , 29 ½”x 34 ½” fr.

31

E.Dufner

Evening Song, c. 1915 46 ¼” x 56 ¼” fr.

32

Cassatt

MARY CASSATT (1845–1926) is one of America’s premier Impressionist painters and one of the few women artists who participated in the official French Impressionist exhibitions.

Born and educated in Pennsylvania, Cassatt moved to Paris in 1868, to further her artistic education and spent the remainder of her life working and living in France. Cassatt was a contemporary and friend of the Degas, exhibiting alongside him at the Impressionist exhibitions. She was instrumental in introducing French Impressionism to American collectors and museums. * The sitter is Bernard Charles Marie de la Motte Saint-Pierre (1875–1956), who was the third child of the aristocratic de la Motte Saint-Pierre family. He was born at the family château Montpoupon in Céré-la-Ronde in the Loire Valley in 1875. Monsieur Bernard de la Motte Saint-Pierre is credited with modernizing the château and expanding its role in hosting the hunt.

M. Cassatt

Portrait of Master St. Pierre as a Young Boy, 1906, 38” x 31” fr.

Literature: Breeskin, Mary Cassatt, A Catalogue Raisonné of the Oils, Pastels, Watercolors, and Drawings (Wash., D.C., 1970), p. 106 (no. 210) (illus.)

Breeskin, Adelyn Dohme, Mary Cassatt: A New Catalogue Raisonné of the Paintings, Pastels, and Watercolors Published by Adelyn Dohme Breeskin (Adelson Galleries, NY, 2015), www.marycassat.com, no. 441 (illus.)

Mary Cassatt among the Impressionsists (exh. cat. (1969)) (illus.)

A Selection of Drawings, Pastels, and Watercolors from the Collection of Mr. and Mrs. Lester Francis Avenet (exh. cat. (1969) (frontispiece (illus.))

Exhibited: 1) The Collectors’ Collection, An Exhibition of Paintings and Sculptures from the Private Collections of Joan and Lest Avnet, Wilfred P. Cohen, and Alfredo Valente, Adelphi University, Garden City, N.Y., January –February, 1968 (no. 4, as Portrait of a Little Boy) 2) Mary Cassatt among the Impressionists, Joslyn Art Museum, Omaha, N.E., April–June, 1969 (no. 20, as M. de la Motte St. Pierre as a Young Boy) 3) A Selection of Drawings, Pastels and Watercolors from the Collection of Mr. and Mrs. Lester Francis Avnet, New York Cultural Center, December 1969–January 1970 (no. 16, as M. de la Motte St. Pierre as a Young Boy)

33

G. Spat

Plage en Bretagne (On the Beach, Brittany), 12 9/16” x 17 9/16” fr.

A. Richmond

Young Girl, Rockport, Mass.

32 ½” x 28 ½” fr.

A. Clark

In the Path of the Sun, ca. 1925-30 36 ½ H” x 6 ¾” L x 7 5/8” W

J. Whorf

34

Artist’s Home/Studio and Cat-Provincetown Mass., ca. 1955 26 ½” x 33” fr.

B

UEHR

Karl Albert Buehr immigrated to the United States with his family in the 1880s.

He settled in Chicago, attended and graduated from the Art Institute of Chicago, and taught at the school for many years From 1905 to 1914, Buehr worked alongside MONET and several American painters who worked abroad--RICHARD MILLER, THEODORE BUTLER, and FREDERICK FRIESEKE. Many of the expatriates used the gardens of Giverny as primary subjects or figural settings. There, Buehr learned to use the bright, highkeyed palette and looser brushwork of the impressionists. Buehr favored elegant women at leisure.

"Young Lady Crocheting"(Expectancy) is a top example of Buehr's expressive use of bright, luminous color, applied in an expressive manner with a loaded brush. It is considered one of Buehr’s most important works and was selected to be exhibited at the Art Institute of Chicago in 1911. The subject matter is reminiscent of the intimate domestic themes popular with the American impressionists.

K.A. Buehr

Young Lady Crocheting (Expectancy), ca. 1911 43 ¾” x 36 ½” fr.

Exhibited: Art Institute of Chicago, 1911

35

C.W. MUNDY (Indiana Regionalist)

“I had the great opportunity this past fall to meet C.W. Mundy...he is a kind, beach clothes-wearing man with a booming voice and down-to-earth character.

Matching this personality are his paintings, which follow no Salon or traditional style, but are loose, impressionistic, and filled with moving color.”

–FINE ART JOURNAL, 2011

HOOSIER SALON, begun in 1925 by the Daughters of Indiana to promote its artists on a national level, the Hoosier Salon was an annual exhibition modeled on the French salons.

For almost 20 years the Hoosier Salon was held in the galleries of the Marshall Field’s department store in downtown Chicago before relocating to Indianapolis.

Dancer Reflections 46” x 33” fr.

Ballerina 17 ¼” H x 8 1/2” L x 8” W

36

Flo Blue Platter and Tureen with Oranges 35” x 41” fr.

Two Girls with Pond Yachts 15” x 12” fr.

D. Wilks

Menorah: Freedom in Movement 17” H x 11” L x 26”W

M. Kuehne

The Open Window 30 ½” x 36 ½” fr.

L Kronberg

Dancer in Pink in front of Green

E.B.S. Parsons

Puppies 5 ½” H x 7 ½” L x 3” W

37

W. Baird

Près St. Raphael 19 ½” x 25” fr.

H. Rittenberg

At the Mantel, Portrait of a Lady 49” x 38” fr.

J.H. Dolph

A Watchful Eye, 23 3/16” x 27 3/16” fr.

I.G. Olinsky

Artist’s Daughter Tosca with Madonna Statue 38 38” x 43 ¾” fr.

L. Genth

Native Girl, c. 1925 41” x 35” fr.

L. Kronberg

Ballerina in Blue (Curtain Call) 28 ¾” x 22 ¼” fr.

H.M. Shrady

Head of a Runaway Horse, c. 1908 16” H x 15” L x 8” D

S. Harris

The Toilers – Far East, 1947 35” x 47” fr.

39

F. Morgan

40

Tug-of-War, c. 1890 52” x 65” fr.

Academic Painting

The term ‘ACADEMIC’ denotes a traditional style of painting based on the realistic interpretation of subject matter and specifically references the highly finished style of painting taught at the official art academies of Europe. Admission to the academies was highly competitive and artists had to follow a rigorous course of training based on drawing. The 19th century was the “golden age” of academies and witnessed the fullest expression of Academic (Realistic) art.

CHARACTERISTICS OF ACADEMIC PAINTING * Outstanding technical skill * Balanced composition * Conventional depiction of natural light *

• Precision and technical skill based on the fundamentals of drawing • Complete and balanced compositions, often panoramic, but always consisting of a foreground, middle-ground, and background, with sight lines converging in the center of a picture • Blending colors on the palette before application to the canvas or panel • Applying blended colors in multiple layers rather than in flat single layers, a technique called glazing.

• Painting indoors in an atelier, or studio, after intense studying of and preparation for the subject • Strict and well-defined dark outlines of subject matter É. Munier

Girl with Kitten, 1878 32 ½” x 28 ½” fr.

ACADEMIES EUROPEAN

AMERICAN

Salon Des Refuses Salon des Indépendants Salon d’automne Royal Academy Grosvenor Gallery Royal Society of Artist British Institute

Pennsylvania Academy of Fine Art, PA National Academy of Design, NY Art Institute of Chicago Arts Students League, NY Corcoran School of Art, Washington, D.C.

ÉMILE MUNIER was one of the best loved of the 19th-century French Academic painters. Working closely with William-Adolphe Bouguereau, the leading Academic Painter and Studio world-wide, Munier adopted the high quality finish, attention to detail and classical subject matter. His charming figures featuring beautiful “cupidesque” children in natural surroundings won him fame and attention.

41

O. Penne

La Chasse (The Hunt), 33” x 38” fr.

É. Munier

Gathering Water, 1890 43” x 32” fr.

42

J. Krouthen

A Summer Afternoon Rest, 1908 38 ¾” x 48 ¾” fr.

J.E. Blanche

Henriette Chabot with Peonies, 1884 46 3/8” x 54 ¼” fr.

43

V.G. Gilbert

A Young Lady Writing a Letter, c. 1875 37” x 33 ½” fr.

A. Moreau

Woman with Cupid and Swirling Veil 35” H x 15” L x 15” W

W. Oliver

Flowering Gathering, 1873, 57” x 44 ½” fr.

J.F. Ballavoine

44

Elegant Lady in Winter, 20” x 16 ½” fr.

Beauties

19th Century Genre Painting Lovely young women in sumptuous gowns of silk and satin or deep, rich velvet, jewels adorning their necks and elegant hats perched on their heads were a favored theme in 19th-century art. During this era, for the first time in the history of art, female beauty became a subject in its own right. These pictures were not portraits: they were images of feminine charm and grace created solely to please the eye. Looking demurely downward or off to the side, these women display for the viewer’s delight their lovely profiles, long, graceful necks and delicate features. Ribbons, bows, jewels, flowers and fine fabrics further heightened these visions of loveliness, producing images of female beauty that strike us even today.

G. de Jonghe

Afternoon Repose (The Artist’s Studio – Antibes) 45 ½” x 37 ½” fr.

J.L. Gérôme

Jeune femme et Amour, c. 1888 16” x 137/8” fr.

45

J. R. Goubie

The Meeting on Horseback, 1890, 21” x 24” fr.

J. Villebesseyx

Irises 59 ½” x 37 ½” fr.

46

D. Grant

Elephants at a Waterhole 42” x 60” fr.

M. Dawson The Golden Eagle, 33 ¼” x 45” fr.

Dawson successfully captures the drama of the interplay between the ship and sea, presenting The Golden Eagle on the crest of a wave, flying every inch of sail in winds that would force lesser vessels to reef. This work has all the elements that make a work by Dawson powerful….

The scene depicts The Golden Eagle with dramatic “wind in the sails” while cutting through “Dawson” water, his famous depiction of water with variations of brilliant blues and greens crested with white caps. Using quick brushstrokes, the artist captures the movement of the tempestuous ocean, conveying the majesty of nature as it changes the ship’s direction. Dawson’s use of natural light and streaming sunlight though the sails filtering across the water captures the majestic mood.

47

Geo’

GEOFFROY’s (often signing ‘Geo’) unique and easily recognizable style features charming, roundcheeked Breton children excitedly engaged in various situations. Though his works are invariably charming, the artist never sought to idealize his subjects. Rather, Geoffroy achieved the picturesque by capturing the spontaneous actions and fresh points of view unique to childhood.

Although Geo’s work predates Norman Rockwell’s by several decades, both artists mastered the depiction of uncontrolled and pure joy found only in youth. The spirit found in Rockwell’s iconic images of American youth closely resembles that which imbues Geoffroy’s earlier portrayals of Breton children.

Solving the Problem 22 ¾” x 25 ¾” fr.

Qui casse les verres les paie, 1881 34” x 26 ¾” fr.

La rentrée des classes

30” x 26” fr.

La leçon de couture (The Sewing Lesson) 20 ½” x 20” fr.

48

P.D. Trouillebert

Nu allongé de dos (Reclining Nude) 17 ¼” x 23 ½” fr.

W.C. Knell

Morning, Dutch Boats “bringing to” off Portsmouth, 1867 32 ½” x 44 ½” fr.

G.T. Ribot

Floral Still Life with Fruit on a Ledge 42” x 36” fr.

H. Couldery

Sitting Pretty (Pomeranian Pups), 1901 18 ¼” x 22 ¼” fr.

49

Sculpture M. Thomas-Soyer

24” H x 20” L x 13” D

P.J. Mêne

16 5/8” H x 18 ¼” L x 9 ¼” D

P.J. Mêne

8” H x 15” L x 8” D

J. Angles

37” H x 11 ½” L x 11” D

A.L. Barye

E. Drouot

21” H x 25” L x 7” D

8” H x 11” L x 5” D

F. Pautrot

16” H x 17” L x 5 ¼” D

A. Gori

26” H x 14 ¼” L x 5 ½” D

E. Guarisco

A. Jacquemart

7 ½” H x 13 ½” L x 7” D

50

18 ½” H x 22 ½” L x 12” D

E. Frémiet

20” H x 10” L x 10” D

20” H x 22” L x 12” D

A. Barye

E. Parsons

8” H x 10” L x 3” D

6” H x 7 ¾” L x 2 ¼” D

S. York M. Moreau

I.R. Boitel

E. Guarisco, II

22” H x 17 ½” x 11” D

A. Barye

36” H x 27” L x 11” D

11” H x 8” L x 6” D

33” H x 24” L x 21” D

E. Carlier

28 ½” H x 13” L x 13” D

Urn S. York

18” H x 22 ½” L x 7 ½” D

29” H x 20” D; Handles are 38” H

51

&

MODERN Contemporary

52

C. Alan

Populus: Marilyn Monroe, “In a Big World” 45 ½” x 65 ½” fr.

53

Ships at Port (Inner Harbor) 33” x 39” fr.

La tombée de la nuit 39” x 49” fr.

54

Still Life with Fruit, c. 1965 29 ¼” x 35 ¼” fr.

LEVIER

Barques sur la plage 38” x 48” fr.

"Rouault # The French painter, draftsman, and printer GEORGES ROUAULT is most associated with Fauvism and Expressionism. His friendships with MATISSE, MARQUET, and CAMOIN heavily influenced his Fauvist palette.

Rouault’s training as a glass painter and his association with VAN GOGH lead to his most noted stylistic trait—heavy black contouring resembling stained-glass caning and dramatic color contrasts.

**CARLOTTA (1937) belongs to a group of portraits of members of the Parisian demi-monde. Unlike PICASSO and TOULOUSE-LAUTREC, who portrayed these individuals with pathos, Rouault’s approach was unapologetic and raw. In the present work several layers of pigment can be discerned; the build-up of translucent and opaque paints creates a three-dimensionality that characterizes the artist’s strongest work. Furthermore, the work is highlighted by the deep swaths of black paint delineating the subject, representing a signature element of Rouault’s work of this period.

G. Rouault

Carlotta, 1937 25 ½” x 22” fr.

Literature: Dorival, Bernard & Rouault, Isabelle, Rouault, L’Oeuvre peint (Monaco, 1988), vol. 2, p. 150, no. 1864 (illus.)

55

M. Wagner

Family of Jesters with Instruments, 53” x 39 5/8” fr.

W. Quirt

The Farm, c. 1940 28 ¼” x 32 ¼” fr.

“The most impassioned artist alive today” – Robert M. Coates, The New Yorker (1943)

The painter WALTER QUIRT was a major figure in the American Surrealist and Abstract Expressionist movements in the 1930s and 1940s. By the mid-1930s, Quirt began to explore Surrealism, a recent import from Europe. The artist embraced the Surrealist expression of automatism—an art technique in which the artist suppresses conscious control of the art-making process, giving free reign to the unconscious mind. However, instead of using automatism as a creative technique in itself, QUIRT employed automatism to address contemporary social and political problems.

56

Two Heads, 1947 30” x 36” fr.

Circus Acrobats, 1946 28 ½” x 32 ¼” fr.

Mother and Child, 1949 41” x 33 ½” fr.

BRYON BROW N E

AMERICAN MODERNIST AND ABSTRACT PAINTER One of the foremost American abstract and avant-garde artists of the 20th century, Browne was extremely versatile, winning notoriety for both his representational and abstract styles. In the 1930s, Browne joined the Public Works of Art Project (PWAP) and created large murals for the TV Broadcasting Building and the U.S. Passport Office.

MUSEUMS: National Academy of Design; Museum of Fine Arts, Boston; Metropolitan Museum of Art; MoMa; Art Institute of Chicago; Brooklyn Museum; Whitney Museum of American Art; Smithsonian American Art Museum

57

Rencontre X, 2006 40 ¼” x 31” fr.

Femme assise (Le banc) c. 1964/66 41” x 33” fr.

Femme Alongée (Le Divan) 1972 37” x 44” fr.

Le collier rose, 1971 31” x 27 3/8” fr.

59

V ÉNARD French, 1913–99

CLAUDE VÉNARD is a major post-Cubist painter and one of the founders of the French avant-garde group, Forces Nouvelles. His career spans four decades and, although his style gradually changed over his career, his interest in certain subjects—still lifes, music, Paris, trains, airplanes, and frogs—remained constant.

The School of Paris describes the broad group of artists who were active in Paris during the decades leading up to World War II and beyond. The Nazi occupation of Paris during the Second World War forced artists out of the city, creating a common struggle and shared experience from which they were able to create stylistically similar art.

There was a resurgence in an interest in Parisian artists following World War II. These artists were inspired by Cubism, Fauvism, and Futurism.

ARTISTS: Modigliani, Picasso, Soutine,Vlaminck, Kisling,Vénard and many others

Roi et Joker, c. 1972/73 51” x 51” fr.

MUSEUMS: MoMa, N.Y.; Musée d’Art Moderne de la ville de Paris; Musée des Beaux-arts, Rouen; Musée de Grenoble; Neue Pinakothek, Munich; Goethe Museum, Düsseldorf; Kunstmuseum, Basel; Tate Modern, London; National Museum of Western Art, Tokyo; Museum of Art, Dallas; Museum of Fine Arts, Montreal; Museu d’arte, São Paulo; Museo de Arte Moderno, Buenos Aires; Art Gallery of New South Wales, Australia

60

Nature morte au compotier, 1948 47 ½” x 47 ½” fr.

La locomotive, 1959, 30” x 34” fr.

Tournesols et les fruits, c. 1975, 50 ¾” x 50 ¾” fr.

Femme à la lampe et à l’échiquier, c. 1958 47 ½” x 47 ½” fr.

Trois Poires, c. 1970 22 ¼” x 25 ½” fr.

61

C. Vénard

Paris, Pont et Grue, c. 1980 37 3/8” x 48” fr.

C. Vénard

Le Mappemonde et la Damier, c. 1955, 19 ½” x 22 ¾” fr.

C. Vénard 62

Nature marte au carafon, c. 1958 20 1/4” x 20 3/8” fr.

C. Vénard

Nature morte à la chaise rouge et au vase, c. 1969 41 ½” x 23 3/8” fr.

ABSTRACT ABSTRACT ART is a 20th century trend in painting and sculpture that seeks to break away from traditional representation of physical objects. Traditional art represents the world in recognizable forms, whereas abstract art explores relationships of forms, shapes, and colors without using recognizable imagery.

ARTISTS: Rothko, Pollack, Kandinsky, Mondrian, Miro, Frankenthaler, Motherwell In the 1910s, there were several groups of artists experimenting with abstraction, each with a unique perspective. CUBIST and FUTURIST artists were focused on imagery from the real world then conceptually altering it to express abstract ideas.

SUPREMATIST and CONSTRUCTAVISTS used recognizable forms but manipulated them in ambiguous or symbolic ways.

P. Hosiasson

Le Noeud Vert, 1956 64” x 44 ½” fr.

J. Levee

January IV, 1960, 24 ¾” x 29 ¾” fr.

LYRICAL ABSTRACTION, a post-war trend, was developed by a group of artists with a completely different perspective.There was no meaning in what they painted.They hoped simply to paint freely, without preconceived notions or messages, imagery, or specific forms of the objective world.These lyrical works of art were meant to be personal and passionate, exuding expressive movement and free flowing.

63

J. Lurçat

Blue Moon 18” H x 19 ¾” W

G. Terzian

La Bouteille noire, 1992 32 ¼” x 28 ¼” fr.

O. Gauthier Terrain, 1954 35” x 30” fr.

G. Dayez 64

Femme se coiffant, 36 ½” x 44” fr.

B. de Kristo

Modèles au paravent, 1953, 27” x 35 ½” fr.

Le Bescond

J. Le Bescond

Mezzo Vocce 59” H x 55” L x 20” D

J. Le Bescond

Middle Heart 32” H x 16” L x 4” D

D. Wilks

WILKS

Boston Dancer 27” H x 21” L x 15” D

D. Wilks

A Menorah of Freedom 17” H x 26” W x 11” D

J. Le Bescond

Adagio 62” H x 23” L x 24” D

65

Craig

ALAN

Populus: Homage to Van Go Go 66-1/2” x 52-1/2” fr.

Cresting Thought 60” x 48”

66

Populus: Marilyn ‘Contemplation’ 66 ½” x 54 ½” fr.

Traced Awakenings 48” x 48" Populus: Audrey ‘Sunday Afternoon’ 54” x 67” fr.

Singularities: Up and Away 18 ¾” x 18 ¾” unfr.

67

Populus: E Pluribus Unum (Liberty) 65 ½” x 53 ¾” fr.

Populus: Ole Glory 52 ½” x 64 ½” fr.

“Nos Autem Populus” We are the People 54 ½” x 54 ½” fr.

Populus: Lichtenstein ‘Hair’, 44 ½” x 44 ½” fr.

Narrative: Bridled (Hay Horse) 49” x 49” fr.

Populus: Lichtenstein ‘Eye’ 44 ½” x 44 ½” fr.

69

R ENSSEN

Seated Woman and Little Owl 34 1/2” x 31” fr.

ERIK RENSSEN is an independent Dutch artist—painter, sculptor, and engraver—active in the Netherlands. For over thirty years, Erik has studied, tested, and applied the methods and visual language of PICASSO to subjects drawn from his own life and experience: Renssen’s blonde women are not Marie-Thérèse, but rather the women in his own life, such as his muse, Suzka; Nôtre Dame Cathedral is now his beloved Rijksmuseum; Paris is transformed into Amsterdam; and the coffee pot he paints is the one that he finds across from him at breakfast.

Seated Woman with Guitar 46” x 37 ¼” fr.

70

Reclining Nude in Rose Garden 41” x 55” fr.

Nude in a Chair 21 1/3” H x 15 ¾” W x 5 ½” D

Pyrography, also known as wood burning, is the art of decorating wood with burn marks from the controlled application of a heated object, such as a poker. This technique achieves a great range of natural tones and shades—sepia toned pictures with beautiful subtle effects, or bold and dramatic designs created through strong, dark tones. The type of implement, the temperature it is heated to, and the way in which it is applied to the material all combine to create a vast array of different effects.

V. George

Sailboats at Dusk 24” x 43” fr.

V. George

Torch Horse II 51” x 63” fr.

71

Search Words • Grateful Dead • Jerry Garcia • Bob Weir • Ron McKernan • Phil Lesh • Bill Kreutzmann

Jerry Garcia 62” x 68” fr.

Detail, Jerry Garcia

“Too much of a good thing is just about right.”

“Truth is something you stumble into when you think you’re going someplace else.”

72

DOUG POWELL, an innovative artist,

creates the illusion of three-dimensional form through the use and arrangement of recycled, or up-cycled, computer keyboard keys.

Up-cycling has a positive environmental impact due to the reuse and repurposing of manufactured objects. The reuse of materials has been employed by artists throughout history, from Amish quilters and American folk artists to Modern Masters, such as PICASSO, JOSEPH CORNELL, and ROBERT RAUSCHENBERG, all of whom have reused materials or found objects to create new, more complex works of art.

** Powell’s art is collected by Ripley’s Entertainment and is on display in numerous Ripley’s Museums around the world, including Hollywood, London, Amsterdam, and Canada. Powell’s works have been exhibited throughout the USA and has repeatedly won BEST in SHOW awards.

PABLO PACASSO PHRASES

Art is a lie that makes us realize the truth Every act of creation is first of all an act of destruction Others have seen what is and asked why.

I have seen what could be and asked why not I do not seek. I find The purpose of art is washing the dust of daily life off our souls Art is the elimination of the unnecessary

Picasso 71” x 62” fr.

73

Palais d’été 63 ¾” x 51 ¼” unfr.

74

Vert émeraude 76 ¾” x 44 ¾” unfr.

G AZIER

ALAIN GAZIER’s main artistic interest lies in the depiction of architectural forms and interior spaces devoid of human presence. The spatial emptiness allows GAZIER to focus on the interplay of color, architectural detail, and play of light. The artist’s paintings have a luminous and tonal quality created by the building up of translucent paint over a textured, mineral-based, marbled-infused gesso surface. This innovative multi-media mode contributes to the suggestion of stone and marble, while making the bright, iridescent tones appear to glow.

Gazier draws inspiration from masters of the past including the 17th century Dutch artists. The Dutch often focused on perspective by depicting "the room beyond” - the idea of having a second or third room that could be seen through a doorway.

The black and white tile flooring is also reminiscent of the 17th century Dutch architecture. The splash of red has been used throughout art history. Red is used as a tool for artists to draw the human eye to selected areas. Gazier adds to these historical techniques to create canvases that are modern and truly his own.

Orangerie 76 ¾” x 76 ¾” unfr.

75

Kyu-Hak

LEE A contemporary South Korean artist, KYU-HAK LEE specializes in mixedmedia mosaics. His unique and signature method of creation involves wrapping pieces of Styrofoam—the most exemplar material of modernity for Lee—with strips of magazine, newsprint, or traditional Korean hanji paper.

76

Picasso 58 ½” x 45 ½” fr.

Technique: Lee arrived at his mixed-media technique while exploring the strong and expressive brushstrokes found in the work of VAN GOGH, with Lee’s tightly-bound mosaic pieces mean to simulate the bravura brushwork of the famous Post-Impressionist. Each one of the artist’s works contain between 25,000 and 30,000 individually cut, shaped, and wrapped pieces.

K.H. Lee

Self-Portrait with Bandaged Ear & Pipe 59 ¼” x 46 ¼” fr.

77

Inspiration VINCENT VAN GOGH Self-Portrait with Bandaged Ear (Jan. 1889) Oil on canvas, 23-3/4” x 19-1/2” The Courtauld Institute, London

T

his self-portrait was painted shortly after VAN GOGH returned home from the hospital after having mutilated his own ear. The prominent bandage shows that the context of this event is important.

VAN GOGH depicts himself in his cold studio in Arles, wearing his overcoat and a hat. His facial expression is still and melancholy as though he is contemplating his position as an artist.

On the left, a blank canvas suggests that there is more work to come, as indeed there was, and a Japanese print on the right relates to an area of great artistic interest for VAN GOGH. This is an aesthetically manipulated depiction of a real print by SATO TORAKIYO, owned by VAN GOGH and pinned on the wall in his studio. In order to fit his own face into the composition, the artist has shifted the figures and Mount Fuji from the left across to the right. Japan, much like Arles, was an exotic place of escape in VAN GOGH’S imagination, and the two are condensed here.

K.H. Lee

78

Van Gogh, Self Portrait with Bandaged Ear 59 ¼” x 46 ¼” fr.

BJORN

T

SKAARUP

he contemporary sculptures Hippo Columbine and Rhino Harlequin

by Danish sculptor BJORN SKAARUP are derived from well-known historical subjects. Hippo Columbine is informed by Degas’ Little Dancer of Fourteen Years. Rhino Harlequin, identifiable by his checkered costume as a mischievous servant, is based off of a stock character from 15th-century Italian Commedia dell’arte. Traditionally, the Harlequin employs all of his wits and wiles to try to seduce acoy Columbine.

Hippo Columbine 29 ¾” x 9 ¼” W x 8 ½” D

Rhino Harlequin 30” H x 11” W x 11” D

79

Art

like real estate, is a safe-haven investment choice

and one that can be enjoyed EVERYDAY.

80

$

NNAMDI OKONKWO earned a B.F.A in

painting in his native Nigeria, a B.F.A. in sculpture from Brigham Young University-Hawaii, and a M.F.A. in sculpture from B.Y.U-Provo. Okonkwo’s bronze sculpture is figurative and almost exclusively depicts the female form. Characterized by a dramatic expression of spirit, over-sized modeling, and simplification of detail, Okonkwo’s work recalls the simplification of form of the works of Pablo Picasso, Henri Matisse, and Henry Moore.

“I feel a deep spiritual connection with sculpture.

I like the physical nature of the process of making sculpture, and sculpture offers me the opportunity to create art that, because it exists in three dimensions, is corporeal, and can have a life that more easily evokes reality”

N. Okonkwo

Celebration, 2014 29” H x 32” W x 20 ¾” D

N. Okonkwo

Jubilation, 2014, 13” H x 18” W x 7” D

EMANUEL MATTINI infuses the theme of music into his visual art. He employs variations on space and color to create works of balanced disorder. His color combinations provoke a myriad of sensation; they are at once definite and idealistic, practical and philosophical, post-modern and baroque.

E. Mattini

Mosaic – Orchestration ‘Saxophone’ 38” x 44” approx. fr.

81

Sabine 44 ½” x 62 ½” fr.

Harmony 34 ½” x 34 ½” fr.

B

JAMALI

orn in Pakistan and originally a Physicist from the University of Peshawar, JAMALI is an important contemporary artist who created mystical expressionism, a style of art making that combines the scientific insight of the world today with humankind’s ancient wisdom. JAMALI draws on Hindu, Buddhist, and Sufi ideas of the sacredness of the being, presenting the viewer with images of mothers, sons, lovers, and dream guides that are adorned by hieroglyphic inscriptions.

LITERATURE: Jamali: Mystical Expressionism: Dreams and Works (New York: Rizzoli International Publications in association with Art & Peace, Inc., 2003)

82

LENTICULAR ART A native of South Korea, Sung-Yong Hong is a modern visionary artist who integrates fine art and technology. Hong incorporates the use of lasers, interference, light intensity and diffraction to create three-dimensional compositions. The artist’s work utilizes lenticular lenses in which two images are combined in a series of cylindrical lenses molded into a plastic substrate. The lenticular lens process creates an illusion of depth and makes a picture appear to move or change as it is viewed from different angles.

S.Y. Hong

Heuristic #02 (Blue) 39 3/8” x 39 3/8” unfr.

S.Y. Hong

Heuristic #01 (Teal) 39 ½” x 39 ½” unfr.

J. Nak

Nexus Series: Blue/Yellow #1 10 ½” x 10 ½” fr.

S.Y. Hong

Heuristic #12 (Red, Orange, Green) 39 3/8” x 39 3/8” unfr.

83

Guarisco Gallery At The Four Seasons Hotel

2828 Pennsylvania Avenue, NW Washington, DC 20007

E. Mattini

Mosaic – Orchestration ‘French Horn’ 44” x 38” approx. fr.

D. Powell

Piano Keys 56” x 48” fr.

Guarisco Gallery (At The Four Seasons Hotel)

2828 Pennsylvania Avenue, NW Washington, DC 20007 (202) 333-8533 (202) 847-3098 guariscogallery@guariscogallery.com www.guariscogallery.com

PRESORTED STANDARD U.S. POSTAGE

PAID

PERMIT #273 ANNAPOLIS, MD