Category Archives: Philadelphia Abstract Art

Non-representational art in all media including drawing, painting, photography, sculpture, prints, video, on-line, writing, etc.

What Follows

The Birthing, 2019, mixed media on paper, 22″ x 30″

The Art of Grief and What Follows
Paintings and Writings by Tremain Smith


May 1 thru June 1, 2019

Old City Jewish Arts Center
119 North 3rd Street
Philadelphia, PA 19106
215-627-2792
Gallery Hours: Mon-Fri 10-5, Sat & Sun 12-5
www.ocjac.org
www.tremainsmith.com

May 3, 5-9 pm: First Friday Opening
Sun, May 19, 2-4 pm: Art & writing workshop led by the artist
Wed, May 29, 6-8 pm: Closing Reception/Poetry Reading

All events are free and open to the public.

Rare Orchid

Let it blossom in its time
Let it unfold of its own accord
Slowly gently imperceptibly 
Like that rare orchid you spoke of, Mom
It’s multiplied
In my window in the light of my window
protected by the pine and nestled in peace 
Brand new bold stems have come 
It’s you.
I made it, Mom. I made it through the grief.
I’m happy now. I’m living again.
Changed and sustained by your life and death I love you.
You fell into my soil
like the leaves from the trees
Bountifully nourishing my essence
I grow,
strong, deep, solid
I can touch the sky
I touch the sky indeed.
You smile.
Ever my encourager, now you are my guide, my holy being.

Remember how we said as you were leaving this earth:
“I place myself in the hands of holy beings.”

I do that now, while still on earth.
Thank you.
Always.
That line that stretches back
Before time
And forever
That’s where I meet you
Thank you to Tremain Smith for the content of this post.

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Eye


Seated Woman (Study for “La Grande Jatte”), c. 1884-1885, by Georges Seurat. Conte crayon on laid paper, Sheet: 11 13/16 × 6 1/2 inches. The Louis E. Stern Collection, 1963. Image courtesy of Philadelphia Museum of Art, 2019.

The Impressionist’s Eye

Philadelphia Museum of Art to present the most extensive exhibition of Impressionism and Post-Impressionism ever to be assembled from its collection

April 16 – August 18, 2019

This spring the Philadelphia Museum of Art will present a broad survey of Impressionism and Post-Impressionism. Drawn almost entirely from its renowned collection, this exhibition will bring together more than 80 works in a variety of media—painting, sculpture, prints, drawings, and pastels— to illuminate the achievements of some of history’s most beloved artists. The Impressionist’s Eye will feature many of the museum’s most celebrated paintings—among them Claude Monet’s Japanese Footbridge and the Water Lily Pool, Mary Cassatt’s In the Loge, Henri de Toulouse-Lautrec’s At the Moulin Rouge: The Dance, and Vincent van Gogh’s Sunflowers—offering fresh insights into these works and placing them in conversation with other major examples by these artists and their contemporaries. For example, Renoir’s ambitious Great Bathers, newly conserved on the centenary of the artist’s death, will be shown alongside treatments of the same theme by Edgar Degas and Paul Cézanne.

The Impressionist’s Eye will include a number of important works on paper (shown in two rotations to avoid overexposing them to light) that have not been on view in the galleries for a decade or more, emphasizing the importance that the artists of these movements attached to working in a variety of media. Among these will be exquisite renderings in pen and ink by Van Gogh, sheets from Cézanne’s sketchbooks that were last exhibited at the museum in 1989, a drawing by Lautrec last shown at this museum in 1956, and one by Berthe Morisot that will be placed on view for the first time.

Timothy Rub, the George D. Widener Director and Chief Executive Officer, said: “The Philadelphia Museum of Art contains one of the country’s most acclaimed collections of 19th century art, but rarely have we had the opportunity to show our Impressionist and Post-Impressionist holdings as comprehensively as we are able to do in this exhibition. Assembling them in The Impressionist’s Eye will enable us to convey the innovative and often boldly experimental character of the work of these artists as well as how fluidly they moved from one medium to another. The presentation of this exhibition in the Dorrance Special Exhibition Galleries is accompanied by a beautiful new publication devoted to the collection. It also comes as the consequence of the comprehensive renovation—the first in nearly 25 years—that we are undertaking this spring of the galleries in which we show our collection of later 19th-century European painting, sculpture, and the decorative arts. They will be closing temporarily as we proceed with much-needed improvements in tandem with the construction of the next phase—entitled the Core Project—of our facilities master plan designed by Frank Gehry.”

The development of Impressionism began in France in the 1870s in the work of artists such as Monet, Renoir, and Pissarro, and set the stage for the bold experiments with color, line, and form that would follow over the next several decades and radically alter the course of modern painting. The exhibition will include a number of works that were presented in the several Impressionist exhibitions held in the 1870s and 1880s, as well as informal sketches and studies that could be considered more experimental or personal in nature.

The Impressionist’s Eye will offer visitors new perspectives on the inventiveness and vision that the artists of this movement brought to their subjects. The choice of bold cropping and unusual points of view, their flattening of space and use of vibrant color and vigorous brushwork imbued their work with a bracing sense of modernity which startled contemporary audiences. Their radically way of painting also reflected a broad fascination with photography and with Japanese (Ukiyo-e) woodblock prints. Visitors will also see a significant number of works by many of the key figures of Post-Impressionism such as George Seurat, Vincent van Gogh, Paul Gauguin, and Paul Cézanne, each of whom took the innovations of the Impressionists as their point of departure and then evolved in new and often dramatically different directions.

The exhibition has been organized around a series of themes that highlight the shared interest of these artists in certain subjects. Among these are Nature, The Modern City, Everyday Objects (or still life), People, and Bathers.

The introduction of commercially produced paint in tubes and the convenience of portable easels and paint sets, combined with the greater mobility afforded by the development of railroads, fostered the growing popularity of painting en plein air, or out-of-doors. The opening section of the exhibition demonstrates how firmly the artists associated with Impressionism were committed to recording their direct observations of nature and making the variability of light, color, and atmosphere a central element of their work. Among the highlights of this section are Camille Pissarro’s Railroad to Dieppe (1886), Monet’s Bend in the Epte River near Giverny (1888), Cézanne’s Mont Sainte-Victoire (1902-04), as well as a lively pen and ink drawing executed in 1888 by Van Gogh titled Haystacks, which is remarkable for its swirling lines, bold dashes, and lively dots.

Paris provides the main inspiration for the next section of the exhibition, The Modern City. Some artists concentrated on the architecture of the French capital, capturing scenes of its grand boulevards or popular urban entertainments such as cabaret, ballet, and the theater. Artists such as Renoir, Pissarro, Edgar Degas, and Mary Cassatt captured many different aspects of the urban experience—the kinetic energy of great crowds traveling to and fro or a single figure caught at a moment of quiet reverie. A Woman and Girl Driving, by Cassatt, shows a modern woman—the artists’ elder sister—boldly taking the reins of a horse-drawn carriage in Paris alongside the niece of Degas. Toulouse-Lautrec’s At the Moulin-Rouge (1889-90) captures the demi-monde at play, with a dancer kicking up her skirts as she performs the can-can amid a crowd of top-hatted men. At the Paris Opera, Degas’s The Ballet Class, conveys the rigor of young girls learning their craft as a stage mother slumps with fatigue into a chair. Among the group of conté crayon drawings by Georges Seurat included in the exhibition, is a rare rendition of a woman, seated on the bank of an island in the Seine, which served as a study for the artist’s masterpiece, La Grande Jatte.

Another section focuses upon the different ways in which artists such as Edouard Manet and Paul Cézanne reanimated the traditional theme of still life painting, imbuing it with a new spirit and sense of ambition, aptly characterized by the latter when he said, “I want to astonish Paris with an apple.” Flower-filled vases (Renoir), artisanal cakes (Caillebotte), or a woven basket (Manet) were convenient subjects for the artists’ experimentation. “A painter can say all he wants to with fruit and flowers,” observed Manet, who focused on this familiar genre in nearly a fifth of his canvases. In these works, visitors are invited to witness everyday objects transformed through color, texture, and line.

Many of these artists were also keen observers of people. As Van Gogh noted in 1885, “Painted portraits have a life of their own that comes from deep in the soul of the painter and where the machine [the camera] can’t go.” His treatment of the postman Roulin’s wife clutching her baby Marcelle, created in 1888, possesses a luminous, almost otherworldly glow. In this section of the exhibition, works in clay, graphite, pastel, and paint reveal just how thoroughly the Impressionists and Post-Impressionists up-ended longstanding traditions of rendering the human figure. Drawings such as Cézanne’s Peasant Girl Wearing a Fichu and such sculptures as Degas’s Little Dancer, Aged Fourteen, (modeled in wax, 1878-81 and cast in bronze, about 1922) reflect the unique qualities that different media offered to these artists to enable them to capture the unique character and vivacity of their subjects. Responding to the recent advent of photography, artists sought to convey the character of the sitter in ways that seem both direct and spontaneous, as demonstrated in Bethe Morisot’s Young Woman with Brown Hair, 1894.

The same observations can be made of their treatment of the timeless subject of the nude, a theme that especially fascinated Renoir, Degas, and Cézanne. Renoir’s Great Bathers, (1884-87) will be seen in The Impressionist’s Eye for the first time since the completion of a year-long conservation treatment and cleaning, a project generously supported by the Bank of America Art Conservation Project. The artist labored over this canvas, seeking to establish a new direction for his work and to create an image that would be both contemporary in spirit and rival the great masters of the Renaissance. The installation will enable visitors to appreciate it in a state that now more closely resembles how it looked when the artist completed it, and in the company of some of the greatest works of the late 19th and early 20th centuries.

“For three years Renoir wrestled with this work,” notes Jennifer Thompson, the museum’s Gloria and Jack Drosdick Curator of European Painting & Sculpture & Curator of the John G. Johnson Collection, who organized the exhibition. “Just howexhaustively, we knew from notes left by Berthe Morisot, but seeing the cross-sections and x-rays taken by our specialists in Conservation has reaffirmed precisely how much he questioned himself and started over, again and again.”

The Impressionists Eye, as an exhibition drawn from the collection, also offers a record of collecting, tastes, and insight into the cultural life of Philadelphia in the 19th and 20th centuries, beginning with Mary Cassatt, the American in Paris who early on persuaded her family members in this city and others around the country to purchase the work of the Impressionists, touching off a new vogue in collecting. “Philadelphia was a vibrant center for collecting in the during this period,” Thompson notes, “and the museum’s Impressionist holdings were indelibly shaped by the taste and civic spirit of those individuals, much as today’s collectors of contemporary art collectors enrich the cultural life of our city.”

Support
The Impressionist’s Eye has been made possible by Presenting Sponsor Bank of America.

Contributions to this exhibition have been made by The Robert Montgomery Scott Endowment for Exhibitions, The Laura and William C. Buck Endowment for Exhibitions, The Gloria and Jack Drosdick Fund for Special Exhibitions, The Harriet and Ronald Lassin Fund for Special Exhibitions, Lyn M. Ross, Joan F. Thalheimer, The Jill and Sheldon Bonovitz Fund for Exhibitions, and an anonymous donor.

Support for both The Impressionist’s Eye exhibition and the reinstallation of the galleries of nineteenth-century European painting has been generously provided by Lois G. and Julian A. Brodsky.

Support for the reinstallation of the galleries of nineteenth-century European painting has been generously provided by Barbara B. and Theodore R. Aronson, Harriet and Ron Lassin, Martha McGeary Snider, and other donors.

Credits as of February 28, 2019

Publication
The exhibition is accompanied by Impressionism and Post-Impressionism: Highlights from the Philadelphia Museum of Art, the first publication from the museum to focus on its internationally renowned Impressionist and Post-Impressionist collections ($35). Written by Jennifer A. Thompson with contributions by Joseph J. Rishel and Eileen Owens, and co-published by the Philadelphia Museum of Art and Yale University Press (240 pages; 224 color, 8 black-and-white illustrations), it focuses upon one of the most significant collections of Impressionism and Post Impressionism in the country, with two hundred Cézannes, twenty-three Monets, and more than fifty Renoirs.

Thompson’s introductory essay examines the circumstances and individuals—including Mary Cassatt’s brother, the Philadelphia railroad executive Alexander J. Cassatt, depicted in a painting by his sister—that led to the formation of the collection. It provides entries on ninety highlights, including Cézanne’s The Large Bathers, Degas’s Little Dancer, Aged Fourteen, Van Gogh’s Sunflowers, Monet’s Japanese Bridge and Waterlily Pond, Toulouse-Lautrec’s Moulin Rouge, and Renoir’s Great Bathers. Paintings, sculpture, and drawings by figures such as Cassatt, Seurat, Manet, Pissarro, Alfred Sisley, Morisot, and Auguste Rodin are presented together, providing a rich and encompassing view of these artists and the innovative works they created across mediums.

The entries explore the artists’ aims and challenges, discuss conservation discoveries, and consider the works within the contexts of the art market, social history, fashion, and politics. Comparative illustrations, such as related works from Philadelphia and other collections, preparatory drawings, X-rays demonstrating substantial alterations, and period photographs, add to an understanding of each work.

Changes in the Nineteenth Century Galleries
Beginning March 25, 2019, seven rooms dedicated to nineteenth century paintings on the first floor of the main building will close for renovation, including galleries 151, 152, 159, 156, 157, 160, 161. Several of these will reopen in July, and the full suite will be reopened following the conclusion of The Impressionist’s Eye. Currently closed for renovation are galleries 150 and 153. On March 25, these galleries reopen with works by Couture, Courbet, Corot, and Millet, a new installation focusing on the rejection of idealism, the treatment of “ordinary” subjects, and technical innovations in painting outdoors and in the use of bold, gestural brushwork.

Curator
Jennifer Thompson, The Gloria and Jack Drosdick Curator of European Painting & Sculpture & Curator of the John G. Johnson Collection

Location
Philadelphia Museum of Art, Dorrance Special Exhibition Galleries, 2600 Benjamin Franklin Parkway, Philadelphia, PA 19130
215-763-8100 Tuesday–Sunday, 10:00 a.m.–5:00 p.m.
Wednesday & Friday: Main building open until 8:45 p.m.
Closed Monday except for some holidays

Thank you to the Social Media team at The Philadelphia Museum of Art for the content of this post.

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Then

Then and Here, Linda Dubin Garfield, Susan DiPronio, Da Vinci Art Alliance

Da Vinci Art Alliance, 704 Catharine Street in Philadelphia is pleased to announce Then and Here a two-person exhibition by Linda Dubin Garfield, printmaker/mixed media artist. and Susan DiPronio, photographer from May 1- 12, 2019. The opening reception is Wednesday, May 1, 6- 8 pm and a closing reception on May 12, 3- 5 pm.

Linda Dubin Garfield‘s works on paper and Susan DiPronio‘s photographs are inspired by memories and memoir. In conjunction with this exhibit Garfield has organized mixed media workshops for residents of Atria Senior Living Life Guidance Memory Care Unit. The work created by these residents will be included in the exhibit.

The opening is also a birthday party for Garfield and in lieu of gifts, she is requesting donations to the Dementia Society of America. A representative from the organization will be at the opening/birthday party with materials for distribution.

This exhibit is organized by smARTbusinessconsulting.org. A portion of sales will benefit the Dementia Society of America.
for more information, see:

Linda Dubin Garfield, Ed.D.
printmaker/mixed media artist/blogger
610.649.3174610.256.6037 cell
www.lindadubingarfield.comwww.artsisters.org– Founder
www.davinciartalliance.org – Board Member
www.smARTbusinessconsulting.org– Founder
blogs:
The ART of Travel – www.lindadubingarfield.blogspot.com
www.toooldtodieyoungblog.wordpress.com

Thank you to Linda Dubin Garfield for the content of this post.

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Reverberations

Artists’ Talk at Cerulean Arts Gallery

Andrea Krupp, Cerulean Arts Gallery

Saturday, March 16 at 1:00. Lisa Sylvester and Andrea Krupp will be chatting about the work on display in Reverberations. If you haven’t had a chance to stop by, a visit is recommended. There is a real feeling of reverberation between the works in the gallery. It’s a visually striking pairing, as many have commented, and I agree – Tina and Mike did an excellent job curating this exhibit. It closes on March 24. – Andrea Krupp

The quote above is from an essay Andrea Krupp wrote for Reverberations, a jumping off point for the Artists’ Talk on Saturday perhaps.

And a Bonus! Right next door, the Cerulean Arts Collective opens a new round of solo exhibitions on the same day, from 2:00 – 5:00pm.

Andrea Krupp’s artist’s book Transmission from Elsewhere (pictured below) was selected for the Wayne Art Center Regional Spring Open, juried this year by Stuart Shils. The opening is on Sunday, March 31, 3:00 – 5:00 pm and runs through May 4th.

Wayne Art Center, 413 Maplewood Ave., Wayne, PA 19087. 

Andrea Krupp, Wayne Art Center Regional Spring Open

Da Vinci Art Alliance, 704 Catharine Street, Philadelphia, 19147.
A Northland drawing by Andrea Krupp was selected for Works On Paper II at Da Vinci Art Alliance, juried by Rochelle Toner. The opening reception is Sunday, March 17th at 1pm, runs through April 7th.

Thank you to Andrea Krupp for the content of this post.

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Fair

Ian Rayer-Smith, Golgotha
Image Credit to the Artist and Steidel Contemporary

Philadelphia Fine Art Fair Announces Exhibitors for Inaugural Edition


(Philadelphia, PA) – Philadelphia Fine Art Fair (PFAF) announces the exhibitors for its inaugural, 2019 edition presenting works by significant modern and contemporary artists. Taking place on April 4th – 7th, 2019 at The 23rd Street City Troop Armory (22 S. 23rd St, Philadelphia), PFAF brings 34 international galleries, featuring 300 established artists, to the City of Brotherly Love.


“Galleries were carefully selected to showcase the best examples of each genre and kind of artist. Though international in scope, we do also provide an emphasis on local artists. Fairgoers will be able to view and acquire works by a refined selection of emerging, mid-career and blue chip contemporary artists,” says Fair Director RIck Friedman. “Best of all,
there are ‘must have’ treasures for every budget. Wearing my collector hat, I can’t wait to have a shot at these gems.”

Embracing the city’s history and passion for visual arts, the galleries presented at PFAF represent the longstanding cultural vibrancy of Philadelphia. The exhibitors hail from 19 cities, featuring renowned artists from around the world, including Cuba, Latin America, and Europe.

The PFAF exhibitors represent acclaimed talent from all around the world, while giving an international perspective in a local setting, PFAF is thrilled to be able to host the regional fair in a location that aligns with the city’s past. Held in the historic 23rd Street City Troop Armory, a centrally located fortress, the armory was originally built to house the men who helped keep the city safe for centuries, reflecting the fierce loyalty locals hold for their city. The building’s history will complement the work being featured by PFAF’s international roster of exhibitors and provide a unique environment for fair patrons to enjoy.

2019 Galleries

About PFAF

The Philadelphia Fine Art Fair (PFAF) is an international, contemporary art fair that seeks to engage the strong, local art scene Philadelphia has developed. For its inaugural year, PFAF is hosting a roster of exhibitors who are presenting significant works of modern and contemporary art. Under the leadership of Fair Director, Rick Friedman, PFAF is the newest addition to the luxury, regional fine art fairs Friedman is known for producing in cities including the Hamptons, Aspen, Houston, San Francisco, Palm Springs, and Silicon Valley. PFAF is dedicated to supporting, contributing and furthering the artistic goals of the cultural community of Philadelphia.

The Opening Night Preview

Thursday, April 4, 6:00pm – 10:00pm

Show Hours

Friday, April 5, 11:00am – 7:00pm

Saturday, April 6, 11:00am – 6:00pm

Sunday, April 7, 11:00am – 5:00pm.

General admission tickets are $25pp and can be purchased online

(https://www.philfineartfair.com/) or at the door.

Fair Contact

Donna Thiele, Director of Fair Development, 631-283-5505

Thank you to Madison Fishman for the content of this post.

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