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An American Impressionist: The Art and Life of Alson Skinner Clark

by Deborah Epstein Solon, Ph.D.

lson Skinner Clark privileged. Musing on Alson’s early Skinner Clark. When he was (1876–1949) is hardly a famil- interest in art, his wife, Medora, nine or ten years old, it made A iar name, even to scholars of would later recollect in a 1956 itself manifest—and obnox- late nineteenth and early twentieth- interview with the Archives of ious as well—to the his century American art. The resuscita- American Art: church-going parents, for dur- tion of Clark’s career is part of the ing the long Sunday sermons ongoing scholarship in the field of I think the desire to draw was he surreptitiously recorded American Impressionism whose always extant with Alson the bonnets and bald pates in scope has broadened significantly within the last ten years to include artists heretofore overlooked. Clark was born in Chicago dur- ing the Centennial year, a decisive and turbulent period in American history when the country, and the national economy, was still in the throes of recovery from the Civil War. Nonetheless, art advanced to new levels during the decade of the 1870s. The period introducing “American Renaissance,” using the Centennial as a point of departure, was rife with social contradictions, but allowed the arts to flourish on a grander scale than ever before. Clark’s father, Alson Ellis, was from an impoverished background. After serving in the Civil War, he moved to Chicago and established a highly successful commodities busi- ness at the Chicago Board of Trade. Eventually, he was able to provide a comfortable lifestyle for his wife, Sarah, and their sons, Mancel, Edwin, and Alson (their daughter, Mary Emily died in 1871). Alson’s artistic talent was apparent from childhood, and his parents enrolled the young student in evening classes at The School of The Art Institute of Chicago in 1887. Clark’s Chicago childhood was

Ruins of San Juan Capistrano, c. 1919 Oil on board 31Љ ϫ 25Љ Private Collection, Courtesy of The Irvine Museum

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front of him in the only place advancing to the live model. In time. Alson, however, came to the available at the time—the 1896, following a disagreement rescue in his desire to study art frontispiece and blank rear with one of his teachers, and dis- with a New York master, and made pages of the family hymnals. pleased with what he considered it seem a necessary thing to do.” the slow and laborious process of In 1889 the Clark family drawing from casts, Clark quit the hen Chase opened his embarked on a two-year trip school. Determined to continue his Wown school, Clark, among around the world. This experience studies, Clark moved to New York many other students, followed him. gave young Alson his first introduc- to work under the tutelage of A dedicated and sympathetic tion to European art and perhaps William Merritt Chase instructor, Chase’s influence on was the catalyst to his future insa- (1849–1916) at the Art Students’ Clark was enduring throughout the tiable appetite for travel and paint- League of New York. young artist’s career. In fact, Clark’s ing. We know much about Clark Although Clark’s parents sup- Early Nude (1898) bears an through his diaries and letters—the ported his intention to become a inscription that Chase actually quotidian diary entries for the painter, his mother was concerned worked on the painting. The two young Alson in Europe focused on about her twenty-year-old son liv- summers Clark spent working en food, the weather and his studies, ing alone in New York; so she went plein air at Chase’s school in Shin- but also discussed the churches, with him. Adding to the unusual necock, Long Island presaged his museums, galleries, and opera per- arrangement, Alson’s childhood inclination towards Impressionist formances the family attended. friend Amelia Baker joined them. practices. Upon graduating from high The three shared a flat at Seventy- Clark left to study in Paris in school, Clark briefly enrolled as a Seventh Street and Columbus November 1898, but had reserva- full-time student at The School of Avenue. According to Sarah Clark: tions about leaving his family. He the Art Institute of Chicago where “For two years Mela [Amelia] and wrote in his diaries: “My dear the traditional academic program I have talked of spending a winter Mama, how I hate to leave her for (mostly dependent upon French in New York, in Bohemian fashion, so long. I do love her so.” Aspiring principles) included requisite draw- and have searched for a good rea- young American painters had sev- ing from casts and still-lifes before son for doing so, in vain till this eral options for instruction in Paris, but by far the most popular school was the Académie Julian. Nonethe- less, Clark rejected the Julian, find- ing the working conditions there “disgusting.” Instead, he enrolled in the newly opened, Academia Carmen, James Abbott McNeill Whistler’s (1834–1903) short-lived school. This decision was surpris- ing, as Whistler was the artistic antithesis of Chase. Known for his phlegmatic temperament, Whistler was ill-suited to the demands of an instructor. At first, Clark found the school “rotten.” The tuition was higher than at other schools, strict rules of decorum were enforced, and Whistler’s critiques were often more theatrical than instructional. On one rare occasion Whistler held a small soirée for his students at the studio. There, Clark acquired insight into Whistler’s working methods:

He showed us several of his starts and finished pictures. They were elegant and really Taking Paintings to the Salon, Paris, c. 1905 almost came up to the Old Collection of Jean Stern, The Estate of Alson Clark

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Masters. His things are so there isn’t much honour in being in simple that you look at them unless you get in squarely as only a moment and everything very few do.…” Nonetheless, inclu- CALIFORNIA ART CLUB comes out but nothing pushes sion continued to be his goal and itself forward so that you when his work, The Violinist NEWSLETTER notice it especially but see the (1901), was accepted later in 1901, whole thing.…He arranges his he was hardly nonchalant. Winter/Spring 2006 palette very queerly. He first Whistler’s early influence is seen in has black, then raw umber, Clark’s first successful entry in the light red, burnt sienna, Pruss- Paris Salon. The Violinist allows for Contents ian blue, burnt umber, some the exploration of muted hues of more black, vermilion, raw brown and green to explain a som- Cover An American sienna, yellow ochre and bre, brooding mood. The primary Impressionist: The Art white.…His studio is very sense is of a compositional arrange- dimly lighted and all the walls ment—the placement of the solitary and Life of Alson are of a warm, dark pink. individual and the exploration of Skinner Clark dark colour—as opposed to interest by Deborah Epstein Clark recognized the quixotic in personality or narrative. Solon, Ph.D. artist’s genius. He was a willing acolyte, and attended Whistler’s lark was repeatedly ill 10 Calvin Liang: His atelier intermittently until the Cand while living in New York Own Voice school’s demise in 1901. By this he went frequently to the doctor to by Elaine Adams time Whistler had a profound effect have his stomach “pumped.” In the on Clark, even the way he arranged spring of 1901, he suffered increas- 14 Letter from Iraq his own palette. ing physical infirmities. Told that In March of 1899, Clark entered he needed an appendectomy—a 15 CAC News Flash: his first work in the Paris Salon. In serious operation at the time—he Stars Shine Bright at a letter written the following month booked passage back to America Marston’s Restaurant to Amelia Baker, he described his on June 1 and scheduled the sur- experience: gery in Chicago. 16 CAC News Briefs Clark spent the summer of 1901 Wednesday Wilson and I went at the family summer home on 16 2006 CAAM to the Salon to see the stuff Comfort Island, one of the Thou- Workshops carried in and all the awful sand Islands in Alexandria Bay. In things that went in—I never the fall, he rented a barn in Water- 17 Donor Recognition saw such a lot of bad paint- town from Amelia’s parents and 18 Museum/Gallery ing. The wagons come up to converted it into a studio. Water- the entrance and take their town was a small, provincial city Exhibitions and wads of pictures in and there near Lake Ontario and the Cana- Lectures are crowds of people watch- dian border and the closest city to ing the stuff enter. I have little Comfort Island. His decision to 26 Membership News hope that [my picture] will stay in Watertown marked the 28 Bulletin Board pass the jury but one can beginning of his professional career and heralded a new chapter in his never tell as there is a great 29 New Members deal of “pull” in the Salon, personal life. He had gained experi- ence and sophistication through his and as I have not studied 30 In Memoriam under any Frenchman I may sojourn in Paris. Now, still strongly be thrown out. I don’t care influenced by both Chase and Advertisers what happens although of Whistler, he began to develop a personal vocabulary. course I would rather be in 26 American Legacy Fine than out. Exhibitions are, Clark was the only professional Arts, LLC after all, a farce. artist living in Watertown, and one of the local girls, Atta Medora 27 Source Tek When his painting was rejected, McMullin, agreed to pose as a model—with her mother as a chap- Clark pretended indifference: “It 28 Lifescapes doesn’t’ matter to me at all as I erone. Unexpectedly, love blos- haven’t a reputation to make and somed, despite the artist’s appre-

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artist and his siblings throughout their lives. Clark was thrilled about his first exhibition, which featured small paintings depicting the city of Paris: Approximately forty people attended, and a few pictures sold: Medora considered the event a “grand success.” From Watertown, the paintings travelled to Chicago for Clark’s first major exhibition, at the Anderson Galleries. Critical response was overwhelmingly posi- tive for the “Chicago boy,” with a consensus that the “young man cer- tainly has decided talent.” The Chicago Tribune declared, “Popu- lar opinion has decided that it is a very promising display for a young artist…. Mr. Clark has a style of his own. It is suggestive of Japanese reminiscences, is refined and pleas- antly frank…. The sentimental does not interfere with the boldness of using masses.” Alson and Medora, as she was known, were wed on September 20, 1902, and sailed on the S.S. Minnetonka for a Europe. On November 7, they moved into an apartment at 6, rue Victor-Consid- érant in Paris. Soon after settling in, Alson’s friend, artist Frederick Carl Frieseke (1874–1939), moved in with them until the rooms above their apartment became available. The Violinist, c. 1901 Among the constellation of Ameri- Oil on canvas 26Љ ϫ 22Љ can artists in France during the Collection of Huntington Library, Art Collections and Botanical Gardens, early twentieth century, Clark’s San Marino, California friends included such notables as Gift of Alson Clark, Jr. Lawton S. Parker (1868–1954), Will Howe Foote (1874–1965), hensions. “In the evening I would assisting Clark as he organized his Henry S. Hubbell (1870–1949), have liked to have seen Medora, first solo exhibition in Watertown. Richard E. Miller (1875–1943), but stayed home and wrote. I have Always cognizant of his obliga- and Guy Rose (1867–1925). How- no more business in marrying than tions, on the eve of the exhibition, ever, he was especially close to the man in the moon for I am fickle Clark wrote: “Tomorrow begins Frieseke in the early years. Frieseke and can’t help myself. It is a mis- my career as an artist and with that painted from the Clarks’ apartment fortune and not a fault.” Yet, just a the knowledge that some of my balcony and occasionally used few days later, he wrote, “In the works may bring us our living.” In Medora as a model. The artists afternoon she posed. I could not fact, financially he was more fortu- worked assiduously during the win- work as I wanted to tell her that I nate than most artists. In the ter in order to prepare for the loved her but could not. We sat by 1890s, his father had purchased the spring Salon. As part of the prepa- the fire knowing each other’s Wadsworth-Howland Paint Com- ration, many analyzed each other’s minds.” By the end of January, pany (later renamed the Jewel Paint works. Some assisted each other Clark professed his love. Company), in the hope that his when it came time to deliver paint- From the beginning, Medora sons would enter the business. The ings to the Salon, often renting and proved to be a supportive partner, business provided income for the sharing wagons. They even

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exchanged formal clothing to wear dent, Claude Monet (1840–1926). “The more I reflect on the possibili- at openings: “Many painters didn’t However, an American colony was ties of Giverny as a place to go, the possess the required outfit, so there first established there in the 1880s, less I care for it. The petty jeal- would be a hurried return to some and by 1910 Americans were well ousies…the fights, the spying on base, a quick exchange, and the entrenched. The influx of tourists you by your neighbours all works frock coat and hat would make a and artists to this village caused a up to the least attractive place…to second trip to the Salon on a surge in prices from everything spend a season. Then the similarity smaller, but happy man.” from food to real estate. And, figu- in all of the work. I have kept out Clark meticulously documented ratively speaking, the American of it.” However, in Giverny, Clark his paintings on small note cards or community was highly incestuous. solidified his commitment to in notebooks, often with tiny photo- They lived, painted, played, and Impressionism. Like most Ameri- graphs. He wrote “Whistler” on argued all within full sight of each cans, Clark practiced a modified several of these cards, unabashedly other. Ultimately, Medora did not form of Impressionism, one that confirming his indebtedness to the find it a convivial atmosphere: allowed him to combine his aca- master. The Necklaces (Les Colliers) (1905) is perhaps his greatest hom- age to Whistler’s portraiture. Clothed in a flowing gown and placed in front of an elegant mantel- piece, Medora stands with her back to the viewer as she examines differ- ent necklaces. The title refers not to the model but rather to the objects she holds, removing any association with her individuality. Even as Clark matured—and aligned himself with Impressionist practices—Whistler’s influence still endured. The Clarks travelled extensively while maintaining their Parisian residence, visiting Normandy, Giverny, parts of Italy and Spain, the Netherlands, Dalmatia, and Canada, periodically returning to Comfort Island, Chicago and New York to sell his “American” paint- ings through the art dealer William Macbeth, who favoured American subject matter.

fter painting in Spain, AClark was eager to organize his Spanish paintings for an exhibition in America, and so the Clarks returned to Chicago in January 1910.A show of the Spanish paint- ings opened at the O’Brien Art Gal- leries in March of that year. Seven- teen of the thirty-eight canvases sold immediately. His New York dealer, Macbeth, agreed to exhibit works that were still available. The Clarks returned to Paris, but by June they left for a visit to the artist colony in Giverny, return- ing again for a short stay in Octo- The Necklaces (Les Colliers), 1905 ber. Giverny’s fame is associated Oil on canvas 38 3/4Љ ϫ 30 1/8Љ with its most distinguished resi- Collection of Earl and Elma Payton

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demic drawing skills with the chro- matic and stylistic freedom of Impressionist practices. Clark’s paintings were included at venues such as The Art Institute of Chicago, The Pennsylvania Academy of the Fine Arts, the Paris Salon, and the National Academy of Design. His continual thirst for new subjects proved financially suc- cessful: a steady stream of sales through his dealers in Chicago and New York provided a modest, but satisfactory income. In the spring of 1913, the Clarks decided rather sponta- neously to visit the Panama Canal Zone. Construction on the vast and costly canal was nearing com- pletion, and Clark was determined to somehow be involved in the epoch-making enterprise. Although they arrived in Panama without letters of introduction or accom- In the Lock, 1913 modations, both were eventually Oil on canvas 25Љ ϫ 31Љ secured. The supreme commander Collection of W. Donald Head/Old Grandview Ranch of the project gave Clark unprece- dented access to the labour trains and construction sites, where the artist worked furiously in the sti- fling heat to portray the excava- tions, the construction of the locks, and the ubiquitous railroad. Clark wrote to his mother:

This is such a busy place for me I never get time to write more than a postal. We get off on the 6:40 train in the morning, getting up at five- thirty or so and get back at noon, leave for lunch and go off again at one-thirty, getting in at seven and after dinner go to bed…. In the afternoon at present I go to the Culebra Cut where all the blasting has been going on and the slides, and I paint there. It is won- derful all over…. Alson Skinner Clark (1876–1949) Catfish Row (also known as Cabbage Row), c. 1917 By June, with a significant num- Oil on canvas 26Љ ϫ 32Љ ber of canvases completed, Clark Collection of Paul and Kathleen Bagley

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contacted John Trask, the director and history. He enjoyed the genteel the dignity of this artefact, even in of fine arts for the forthcoming Southern hospitality and undoubt- its ruinous state. In 1919, intending 1915 Panama-Pacific International edly would have stayed if not for a to remain in California until they Exposition. Although Clark’s impe- stunning turn of events. When the could return to Paris, the couple tus for painting the canal was United States entered World War I purchased a parcel of land with a purely personal, he quickly he rec- on April 16, 1917, they immedi- “shack” in Pasadena. As California ognized the value of these celebra- ately left Charleston and returned became more familiar, a new home tory images for the exhibition. to Chicago; at age forty-one, Clark and studio were constructed. Clark Trask agreed, granting the artist a enlisted in the Navy. refurbished a Dodge truck, which he room to exhibit eighteen paintings. Although hardly a candidate for equipped for plein air painting, and With such a distinction, Clark conscription, Clark believed that his travelled to Banning, Hemet, the joined the ranks of luminaries simi- fluency in French and familiarity High Sierra and Palm Springs with larly honoured with their own with the French countryside could artists Orrin White (1883–1969) rooms in San Francisco, among be useful. Originally assigned as a and John Frost (1890–1937). them Frank Duveneck (1848–1919), translator, he was subsequently William Merritt Chase, Childe Has- reclassified as a military photogra- wo significant events sam (1859–1935), Edmund Tarbel pher in May 1918. He was assigned Tmarked Clark’s early years in Cal- (1862–1938), John Twachtman to take aerial surveillance photo- ifornia: a reunion with a friend from (1853–1902), James Abbott graphs while dangling precariously France, Guy Rose, and the birth of McNeill Whistler, and John Singer over the side of an open plane, an his son. Rose returned to his native Sargent (1856–1925). F2A Flying Boat. The experience California to teach at the newly The Clarks were vacationing in left him deaf in one ear—a condi- formed Stickney School of the Fine France during the summer of 1914 tion deemed reversible—and Clark Arts in Pasadena. He became direc- when World War I erupted. Based was advised to live in a warm cli- tor in 1918 and asked Clark to join on correspondence in August 1914 mate when he returned to America. the faculty. When Rose suffered a from Clark to his mother, they were Opting to go west—but knowing debilitating stroke in 1921, Clark completely stunned and underesti- nothing about California—the assumed the directorship. That same mated the situation’s gravity. “Per- Clarks reluctantly left for Los year, Clark’s son, Alson Jr., was haps by the time you get this,” he Angeles, arriving in February 1919. born. The euphoria of his new baby wrote, “all will have blown over As they travelled across the coun- was tempered by the rigors of caring and there will not be anything to try, Clark announced to Medora for a newborn. Accustomed to free- worry about.” Temporarily that he would no longer paint. dom and quiet—and clearly slightly stranded—and facing the conun- Although Clark’s diaries do not overwhelmed—Clark bemoaned drum of getting themselves and the refer to this rather radical pro- that “my painting days are over, I Panama paintings back to Amer- nouncement, fresh from the horrors fear.” Like all new parents, the ica—they eventually secured passage of war, he may have viewed his Clarks quickly learned to adjust to a on a ship, rolled the massive can- painting career as insipid. However, new schedule, and their son’s arrival vases, and carried them as luggage. once in California, his hearing encouraged the artist to seek more steadily improved; he regained his structure and stability in his life. orced to remain in spirits and resumed painting. Another milestone that year was FAmerica, the Clarks accepted an Southern California offered Clark Clark’s first solo exhibition in invitation from Charles and Edith new and exciting possibilities for his southern California. Earl Stendahl, Bittinger, friends from the early art through the diversity of land- the most powerful art dealer in Los days in Paris, to visit them in New scapes, romantic Spanish Colonial Angeles during the 1920s hosted England during the winter of 1916. missions, and the proximity to the exhibition, which included both Clark was invigorated by the chilly exotic Mexico. The Mission San East and West Coast scenes. Con- New England climate, painting en Gabriel and Mission San Juan currently, Clark’s works were on plein air in snowshoes. In January Capistrano became familiar haunts exhibition at the Corcoran Gallery 1917, they agreed to join another for the Clarks, with Alson delight- in Washington, D.C., and the Art couple on a “short trip” to ing in the decaying architecture Institute of Chicago. By the fall of Charleston. Clark had spent very weathered by time and the unusual 1922, the couple decided to make little time in the South, and was Western flora. Ruins of San Juan Pasadena their permanent home, overcome by Charleston’s charm Capistrano (c. 1919) underscores closing up their Paris studio and

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unfurl their tents and decide to remain here forever and a day. It seems to be actually true—therefore—what we have seen and heard so often stated in print and out—that Southern California is the Mecca of painters. For many years Alson Clark has been a pilgrim and a wayfarer…. But he hadn’t found Mecca. Four years ago he came to South- ern California and remained.

By the early 1930s, Clark was accepting decorative commissions for private homes, designing wallpaper and screens, and paint- ing murals for dining rooms and libraries. Although his interests were always diverse, he was The Artist’s Cottage (Pasadena), c. 1925 undoubtedly delighted to find work Oil on canvas 36Љ ϫ 46Љ during the depths of the Depres- Collection of Gregory A. Young sion. However, against the bleak economic backdrop, Clark took a shipping its contents to California. fornia’s statehood. Shortly there- bold step in 1933: he decided to During the next several years after he painted a series of murals drive across the country with his Clark took frequent trips through- at the Pasadena First Trust and family, allowing more than a year out California, the Southwest, and Savings Bank (now Bank of the to meander and paint. In 1935 the especially to Mexico, in particular West), and eight large paintings for couple took their final journey to Cuernavaca and Taxco where the a private men’s club in Los Ange- Europe. Even after such a long hia- architecture, landscape, and indige- les. Between projects, Clark contin- tus, Clark still saw Paris through nous population inspired another ued to paint en plein air in the late the same inquisitive eyes of his aspect of his art. In 1925 Clark 1920s, mounting successful exhibi- youth, painting city scenes such as began a rather unlikely phase of tions with private dealers and Paris, Rooftops (1936) from their his career as a mural painter when museums throughout the country. hotel window. he was commissioned to paint the Clark’s willingness to immerse enormous curtain (measuring himself in international cultures was lark’s popularity twenty by thirty-two feet) for the a consistent element throughout his Cremained consistent throughout newly constructed Pasadena Play- diverse career. With this understand- the 1930s. While the battle raged house. On the heels of its success, ing, his emerging characterization as between modern and traditional he was approached by J. Harvey a “California artist,” starting in the artists, Clark remained unaffected McCarthy, a native Californian mid-1920s, seems incongruous. by the debate. He was a devotee of and wealthy entrepreneur who was While Clark spent the latter portion Impressionism throughout his life, financing the Carthay Circle The- of his career in California, over half patently rejecting modernism with ater in Los Angles, to paint a series of his life was spent elsewhere. Begin- no misgivings. Two generations of of murals chronicling the history of ning in 1923, Antony Anderson, critic collectors had avidly acquired his California. Clark settled on seven for the Los Angeles Times, began to works; his paintings continued to ambitious scenes, including The shape Clark’s transformation: be included in museum and gallery Arrival of the Oregon at San Fran- exhibitions; and, in 1940, the Los cisco (c. 1925–26), documenting All globe-trotting artists land Angeles County Museum awarded the arrival of the vessel that at some time in Southern Cal- him a self-curated retrospective of brought first official news of Cali- ifornia, and not a few of them twenty paintings, including works

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from Panama, Chicago, Cuer- Notes: navaca, France, New England, The author Deborah Epstein Solon, An American Impressionist: The Taxco, and California. Ph.D., is an independent curator and Art and Life of Alson Skinner When the United States entered an instructor at Irvine Valley Col- Clark was exhibited in 2005 at World War II, Clark contributed to lege. Her publications include, the Gibbes Museum, Charleston, the war effort by organizing a group Colonies of American Impression- South Carolina and at the Pasadena of craftsmen who produced instru- ism: Old Lyme, Cos Cob, Shin- Museum of California Art. ments for the military. By 1945, necock, and Laguna Beach (1999), A 150-page full colour catalogue Clark’s health was in decline. Diag- and In and Out of California: Trav- ($35 soft-bound/$45 hard-bound) nosed with a heart condition, he was els of American Impressionists with essays by Deborah Epstein cautioned not to drive. Since he (2002). She has just co-authored a Solon, Ph.D., and an introduction could no longer travel, he substi- publication with Dr. William H. by Dr. William Gerdts, Professor tuted his love of painting en plein air Gerdts on the artist Colin Campbell Emeritus, The Graduate Center of for figure painting in the studio. In Cooper (1856–1937). That cata- the City University of New York, is 1948, after a severe bout of pneu- logue accompanies a major exhibi- available through both museums. monia and four months of recupera- tion that will open in 2006. tion, he was allowed to resume work in his studio in March 1949. Medora described the day he began to paint once again as “joyous,” as the artist returned to his lifelong pas- sion. The joy was short-lived: Clark suffered a paralyzing stroke the fol- lowing morning and passed away within a week. In her inimitable fashion, Medora remembered, “my son and I could only rejoice that he had in his lifetime been denied only one small week of the use of that wonderful right arm.” Her personal grief was mitigated by knowing that, above all, Clark’s inability to paint would have been a tragedy far greater than death. News of Clark’s death initiated an outpouring of sympathy. Although serious about his work, Clark’s joie de vivre made him a favourite among colleagues and friends. He was characterized as “an artist sensitive to beauty,” an apt description for one who could extract beauty from the crumbling walls of ruins or marvel at the newest technological construction feats; an artist who was equally at ease painting California’s desert flora or the urban landscapes of Chicago and Paris. Rooftops, Paris, 1936 Oil on canvas 22Љ ϫ 18 1/2Љ Collection of the McNay Art Museum, San Antonio Gift of Mrs. Alson S. Clark

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CALVIN LIANG: His Own Voice

by Elaine Adams

rt is a powerful form of communica- On a 1949 visit to tion. It can convey a universal emotion, stimu- the U.S.S.R., Chair- A late a distinct mood, expose a social condition, man Mao Tse-tung reveal forgotten beauty, remind us of simple pleasures, was amazed and nurture a new thought, art even has the power to pro- impressed by the mas- mote political propaganda. Inevitably, an artist’s true sive public billboards passion expresses its own unique voice. promoting Soviet Pre- CALVIN LIANG Ge “Calvin” Liang was born in 1960, the youngest mier Joseph Stalin as a of six children, in Guangzhou (formerly Canton) the humble, yet omniscient capital of the Guangdong Province in the southeast god-like ruler adored by the people. Mao wanted to region of the People’s Republic of China. China’s rich convey that same allusion for himself in China. He rec- dynastic history of advanced civilization dates back ognized the power of visual art as a form of mass com- four-thousand years, beginning with the first prehistoric munication that could be easily understood even by the Xia Dynasty (2000–1500 b.c.), and then ending with illiterate. Soon after his return, Chinese artists were sent the Qing Dynasty (1644–1911 a.d.). By 1960 China to Soviet Russia to study classical art techniques. Within was imbued in political reform and rapid cultural a few years the Chinese government ordered the instal- change. lation of Mao’s portraits in every home and public building. Many artists and poets were strictly instructed to produce works that glori- fied their revered leader. Liang’s early childhood was spent in the pangs of the Cul- tural Revolution, which was prompted in October 1966 by Chinese students and workers and continued for ten years. It was initiated by Chairman Mao to secure “Marxism- Leninism-Mao Tse-tung Thought” as the state’s domi- nant ideology and eliminate any political opposition. Calvin’s father, Zhan Tang Liang, was president of the family’s auto manufacturing company, but Mao’s “re-edu- cation” had other career plans for him when he was made a farm worker. His mother, Zhi Shi Gu, struggled to raise their six children while her husband was sent to the countryside to work on a Bowers Museum farm for two years. The gov- Oil on canvas 14Љ ϫ 18Љ ernment assigned the jobs Winner of the CAC’s “Sights and Sounds of Santa Ana” exhibition that they deemed necessary to held at the Bowers Museum in 2002 create their idea of a produc-

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Sailing on the Bay Oil on canvas 15Љ ϫ 30Љ Entry for CAC’s 95th Annual Gold Medal Juried Exhibition tive country. Mao promoted collective farming and portraits at Fisherman’s Wharf for five dollars and nationalized commerce and industry, which had been created cartoons for Marine World. His ambition was largely private up until that point. great and his drive to excel was steadfast. He ventured After Calvin Liang graduated from high school, the to paint urban scenes of San Francisco, en plein air, and government assigned him a practical occupation—feed- began selling these bold paintings to passers-by. ing cows on a communal farm. But his drive to draw in Liang studied fine art by day, English by night, and his sketchpad was strong. In 1979 he decided to take a painted and sold paintings on weekends. He was begin- chance and apply to the Canton Opera Institute where ning to make a living as an artist and needed to apply he could study the eight-centuries-old tradition of set for social security. His Chinese friends advised him to design. The entrance exam was competitive and change his given name, “Ge,” to something more angli- required completing several parts, including written, cized, like William or Tony. However, Liang did not oral and painting from an arranged still-life in the pres- like those names, but he was pressed to come up with ence of a judging panel. He was one of two selected and something on the spot. Someone said “Calvin,” and was sent to the Shanghai Academy of Fine Arts to learn Liang said, “OK,” even though he didn’t know how to from the masters for two years, which included Russian spell it. His new life in America was quickly taking trained Chinese artists who were taught the Social Real- root, particularly when in 1987 while painting around ist style. He excelled in his studies and was awarded the San Francisco he met his future wife, Cindy, also a position of set designer for the Canton Opera where he recent Chinese immigrant. In 1999 their son, Lawson, worked for the following six years, chiefly painting was born, whose name in Cantonese means “born in backdrops depicting the Chinese countryside. Los Angeles.” In 1997 Walt Disney Studios recognized Liang’s abil- iang’s desire to expand his artistic ity to convey an uplifting mood through his use of Lhorizons, coupled with the more relaxed atmosphere bright, yet harmonious colour. They offered him the in the People’s Republic of China, prompted him in highly sought position as background artist. He moved 1987 at age twenty-seven to apply to the Academy of to Los Angeles and began work on Disney’s upcoming Art College in San Francisco. His hopes were to feature animation films, The Little Mermaid and Cin- improve his skills and create greater career opportuni- derella Stories. These hugely successful productions ties in a free country. Paving the way, a few years later helped launch Liang’s career in the entertainment his parents and siblings joined him. To pay for his edu- industry, and within three years, he was snatched up by cation and living accommodations Liang painted tourist Nickelodeon Studios where he worked for the next five

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Summer, Catalina Oil on canvas 18Љ ϫ 24Љ years creating the phenomenal undersea world of In his capacity as a fine artist, his energetic personal- SpongeBob SquarePants—the optimistic sea sponge ity feels a kinship to the movement, flow, and life force who lives in a two-bedroom pineapple at the bottom of of water. “I was nineteen years-old the first time I saw the Pacific Ocean. the ocean,” he says. And like the sirens of Greek In 2002 Liang decided to quit working for the stu- Mythology Liang is lured by the seductive sounds and dios to pursue a full-time career as a fine artist, and glittering waves of the ocean. But to keep focused on although he no longer creates the underwater realm of his art, he says, “I learned at the academy to keep my the internationally beloved happy yellow sponge and eye on colour and shape.” To Liang, the Pacific Ocean his diverse friends, the Pacific Ocean continues to be is one of the facets that make the golden state sparkle. Liang’s artistic muse. “I love the smell, the colour, and Living in sun-drenched southern California, Liang’s art the sounds of the waves—every wave has a different has naturally evolved to express his excitement over his shape,” says Liang. “I am so relaxed and happy the new environment. moment I see the ocean.” He uses his marine paintings Liang’s style is familiar to fans of California Impres- to share his personal love and joy of nature with his sionism or California Plein Air. His technique includes audience. In fact, if one drives the stretch of Califor- a combination of natural outdoor painting and studio nia’s magnificent coastal highway during any time of work using photographic references. Two of his the year, one may spot Calvin Liang with his palette of favourite California artists are Edgar Payne twenty-six colours painting the vibrant life that defines (1883–1947) and Guy Rose (1867–1925), who con- California’s coastline. tinue to inspire him. Recognized for his use of vivid

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and harmonious colour Calvin Liang applies a bold including the Oil Painters of America and Laguna Plein sense of structure that communicates carrying power Air Painters Association, thus assuring his position as from a long distance. “I think a good painting one of the nation’s leading plein air artists. National art expresses a sense of excitement and aesthetic emotion,” magazines also took notice. In 2004 Liang’s work explains Liang. “When I paint, I cannot rely on reason graced the cover of Art of the West’s special 16th alone, because reason kills emotion. The moment I Anniversary Edition; and he received a full feature arti- apply reason, I know that I am lost.” In Chinese art, each object has its own subjective meaning, and can be cle in American Art Collector Magazine. The following interpreted in many ways. To the Chinese, colour and year Southwest Art Magazine gave Liang a full feature form are not just words, but are a part of what makes story. their culture unique; their ability to surround them- Liang represents part of today’s growing interna- selves with beautiful architecture, gardens and lavish tional interest in Chinese artists living outside China— technique are limitless. In Liang’s art, he strives to find talented artists who left their homeland in the late the perfect balance of beauty and significance. 1980s and early 1990s and settled in the United States, Canada, Europe and Australia searching for the oppor- eflecting on his previous career in tunity to find an audience for their work. Calvin Liang Ranimation Calvin says, “I like fine art better. In the is a link between China’s government-approved art and studios, fifty percent of the work I did was my idea, man’s indomitable spirit to pursue freedom, create but the other fifty percent was the supervisors. In my fine art painting, I control the whole thing. During my beauty and express his own voice. time in animation I painted evenings, weekends and holidays. Any free time I had I used for painting. Now, Notes: everyday I sleep, eat and paint.” Calvin Liang’s upcoming book, Calvin Liang’s Oil In 1999 Calvin was elected a full Artist member in Paintings, published by China’s government sponsored the California Art Club where he became actively Tianjin People Fine Art Press in The People’s Republic involved with the resurgence of Plein Air painting and of China, is part of a series on successful expatriate soon won the respect of his peers, as well as winning artists and is due to be available soon. many important awards. In 2002 his painting, Bowers Museum, received First Place at the California Art Club’s “Sights and Sounds of Southern California” exhibition and competition held at the Bowers Museum of Cultural Art. Also in 2002 he received Second Place at the “8th Annual California Art Club Plein Air Painting Event at His- toric Mission San Juan Capistrano.” In 2004 Liang was presented with the Peo- ple’s Choice Award at the “6th Annual Laguna Plein Air Painters Association Invitational.” The following year he received the Artist’s Choice Award from the Carmel Arts Festival. In 2002 Calvin Liang was honoured by receiving the rarely awarded designation of Signature status from the California Art Club. In a rel- atively short period of time, Liang’s popularity rose quickly and he was soon Fourth of July in Newport invited to join other presti- Oil on canvas 12Љ ϫ 16Љ gious art organizations, California Art Club www.californiaartclub.org Winter/Spring 2006 YYYYYYYYYYYYYYYYY14

The California Art Club Salutes our Members in the Armed Forces Letter from Iraq

Hi California Art Club, …You ask about the situation here, and I’m happy to tell you that I’m lucky to be in Camp Speicher. We live in trailers with electricity and air conditioning, the food is good, and we have a decent phone and inter- net centre to keep in touch with family and friends. My job here is to be a gunner for a recovery team. We recover vehicles that either break down or get blown up. It is very interesting, but also a potentially danger- ous job. Fortunately for me I haven’t seen too much action. Still, I saw a detonation of an IED (Improvised Explosive Device) two vehicles ahead of me on a convoy, and I had to return fire once. And I assure you this is enough for me to see. You ask me about my perspective on how things are progressing, and I can only tell you that I am an optimist and hope for the better. I am doing my job the best I can to improve the condition of Iraq and defeat terrorism, and I know that the same is true for most of the soldiers I know. We want to make things better not worse. And as for the weather, it is about 135 degrees most of the time, and when you add the bullet proof vest and the helmet when you are working in the sun, it can be quite something. As for the landscapes, imagine flat land, sand and almost no vegetation 360 degrees. The only interesting place I have seen is near the Tigris River. But as you can imagine, we can’t stop anywhere. In any case, it was really nice to hear from you, and please send my regards to all of the members of CAC, Miguel Alvarez CAC Mentor Program Member Tikrit, Iraq

Note: Since this letter was received, we are happy to rerport that Miguel has safely returned home from Iraq.

Armand Cabrera The Warrior; Portrait of the Artist’s Brother Oil on canvas 30Љ ϫ 24Љ Miguel Alvarez Entry for CAC’s 95th Annual Gold Before the Mission Medal Juried Exhibition Oil on canvas 48Љ ϫ 96Љ Specialist Alvarez is seen here with his unfinished painting created on location at Camp Speicher on the outskirts of Tikrit, Iraq.

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HE CALIFORNIA ART CLUB T would also like to recognize the CAC News Flash: Stars Shine Bright at following CAC Members and their Marston’s Restaurant, A Mentor Program Venue relatives who are presently or have recently served in our armed forces. by Jessica Eisenreich We ask that you keep them in your eginning in September 2005, the California Art Club thoughts and prayers. (CAC) has partnered with Marston’s Restaurant in Pasadena to l Bpresent an exciting new series of “Rising Young Stars” exhibi- tions featuring members of the California Art Club’s Mentor Pro- Specialist Miguel Alvarez gram. Since 1988 Marston’s Restaurant has been a unique treasure in CAC Mentor Program Member Pasadena. Located in a historic Craftsman house, Marston’s special- US Army izes in providing delicious 1 tour of duty in Iraq cuisine in a cosy atmos- phere. Marston’s famous l breakfast menu has earned Staff Sergeant Martin the restaurant acclaim in Cabrera prestigious publications including the New York Brother of CAC Artist Member Times and Zagat Survey.A Armand Cabrera favourite spot among com- US Army munity and business leaders 1 tour of duty in Iraq for “power lunches,” l Marston’s is the perfect venue to showcase the Corporal Nathan Dellinger CAC’s emerging talent. Son of CAC Signature Artist After the 2004 success of Gil Dellinger the Rising Young Stars exhi- US Marines bition at the California Art 2 tours of duty in Iraq Club Gallery at The Old Mill, this series of ongoing l follow-up exhibitions was Mentor Program member Amery Bohling Љ ϫ Љ Captain Gregory Holt organized to promote the poses with her 23 30 oil painting, The Mentor Program. Started in Fading Light, at Marston’s Restaurant Son of CAC Artist Member 2000, the Mentor Program Joan Horsfall Young serves as a catalyst to develop the talents of young artists by pairing US Army them with CAC Signature members. Chaired by CAC Signature Artist 1 tour of duty in Afghanistan Daniel W. Pinkham, the Mentor Program seeks out promising artists and 1 tour of duty in Iraq under the age of thirty. In evaluating candidates, Pinkham says, “We look to see if they are serious and if they are talented. We look at the l whole package.” In addition to helping young artists develop their per- Colonel James McGinley sonal style, the Mentor Program also provides members practical advice on how to navigate the business side of the art world. Mentor Program CAC Patron Member and husband of member Eric Merrell elaborates, “The Mentor Program has given me a CACPainting Patron Member different perspective of the art world. I feel lucky to have found the pro- Maribeth McGinley gram; the mentoring and business aspects of working with the CAC are US Marines a great resource to a developing artist.” Started with a handful of young Served on the Joint Chiefs of Staff artists, the Mentor Program now boasts over forty members who are the under General Richard B. Myers leaders of the next generation of contemporary-traditional fine art. 24 years in the Marines Each exhibition at Marston’s features an intimate evening with the artist. At this special reception, art lovers enjoy hearing the featured l Mentor Program Artist give a short presentation on his or her work Private Nathan Roca and promising career followed by a question and answer session prior Son of CAC Signature Member to the restaurant’s normal dinner hours. The next “dine with the artist” evening will take place on April 26 and features Eric Merrell. Junn Roca Reservations can be made by calling Marston’s Restaurant at US Army 626/796-2459. CAC members are always welcome at Marston’s. 1 tour duty in Iraq

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CAC News Briefs 2005 CAAM Workshops California Art Academy and Museum Master News Flash! Artist Workshop Programs – An Affiliate of the California Art Club California Art Club’s “95th Annual Gold Medal Juried Exhibition” to open with an Artists’ Gala Enrolment: First come, first served, with 16 students Reception on April 1 and will continue on view maximum per class, unless otherwise noted. through April 23 at the Pasadena Museum of California Art. See Exhibitions listing on page 23. A non-refundable deposit of 50% is requested to hold space in the workshop. Welcome Miriam Nöske to CAC Staff To reserve your space, call 626/583-9009. The California Art Club l is pleased to introduce GIL DELLINGER new full-time Exhibitions Gallery and Show- Curator and Assistant quality Paintings Editor, Miriam Nöske. Workshop Dates: Originally from Ger- September 11 – 15 many, Miriam studied Fee: $575 Fine Arts at the Chelsea Location: Pasadena College of Art and Design in London, and the University of the Arts Berlin, Germany. In 1999 she l CALVIN LIANG was a recipient of the prestigious Erasmus Stipend for a four-month stay at the Academy of Fine Arts in Vienna Plein Air Seascapes where she worked in the sculpture class of Michelangelo Workshop Dates: Pistoletto. She received her MFA from the California October 26 – 28 Institute of the Arts, Valencia, in 2004 and has shown Fee: $350 her artwork in group and solo exhibitions internation- Location: Newport ally including Los Angeles, Berlin, Hamburg, Vienna, Beach London and Bangkok. Her interest in the arts includes a wide spectrum of contemporary art, art history, film/video and architec- ture. Miriam has been a docent at Frank Lloyd l STEPHEN Wright’s Hollyhock House (once headquarters to the MIRICH California Art Club) since October 2005 and has been on the curatorial committee for several group exhibits. Maritime Harbour Additionally, she worked as an Editorial Assistant for Scenes en Plein Air English publications at Cornelsen Verlag GmbH & Co. Workshop Dates: in Berlin, Germany, for three years, and has assisted May 6 – 7 with various exhibition catalogues, artist books and Fee: $275 editorials for art magazines. Miriam’s enthusiasm for Location: San Pedro the arts is expansive and she is already contributing greatly to the California Art Club’s vital artistic energy. Please join us in welcoming Miriam Nöske to the CAC. l DOUGLAS PAUL MORGAN CAC Recognizes Special Friends Plein Air Painting At the California Art Club’s Annual Holiday Luncheon From Start to Finish on December 11, the following friends were recognized Workshop Dates: for their outstanding support of our Club: Patron July 21– 23 Member Frannie Roca received the Volunteer of the Fee: $575 Year Award; Chairman of Painting Patron Exhibitions Location: Fort Mason at the Women’s City Club Ernie Marjoram received the Community Gardens, Chairman of the Year Award; and Martin and Joan San Francisco Ransohoff were simultaneously recognized for their exceptional hospitality and dedication to the California Art Club with the Special Recognition Award.

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l CHARLES l RAY ROBERTS MUENCH Plein Air Landscapes Dappled Light – (Two-part series) Painting the Figure Workshop Dates: May Outdoors 16 – 18 (Part 1); Workshop Dates: May 19 –21 (Part 2) March 24 – 28 Fee: $350 for one ses- Fee: $575 sion; $575 for both Location: San Fran- Location: San Fran- cisco area cisco area

The California Art Club wishes to thank the following generous donors for their recent contributions: $1,000 Suzanne D’Arcy Laura Segil Roy Rose Daniel Desmond Liliana Simanton Dennis Doheny Robert Simon $200 to $500 Dr. and Mrs. Richard Doyle Mian Situ Howard Anderson Glen Eisner Michael Situ Lisa Bloomingdale and Gabriel Estrada Jean Stern Robert McKim Bell Marian Fortunati Brian Stewart Teresa Dong Meadow Gist John Stewart Connie and Gordon Fish Kim Grossman Carol Swinney Ernie Marjoram Marsha Grieco Milly Tsai Douglas Morgan Ruth Hanzlik Anne Ward Joan and Martin Ransohoff Carolyn Hesse-Low Yisun Wei Patricia Riggs Jeffrey Horn Lillian Winkler Leonore Rae Smith Elaine Kaniewski Elizabeth Tolley $50.00 Carol King Anonymous Up to $100 Steven Lang Carl B. Belfor Michelle Lentz Suzanne Bellah Tanya Lowe n behalf of the California Julia L. Braeger Fred Mackenbach OArt Club, I greatly appreciate Gerald Brommer Hugh Macneil your support in providing educa- Janet Brown Leslie Mayer tional opportunities that emphasize Dennis Cabral Doris Mendenhall the importance of traditional fine Valerie Carson Marlene Miller art for future generations to enjoy. Jack Cassinetto Kathy Norris — Peter Adams, President Carla Clarke Ed Nunnery Note: Gold Medal donors will be Frances Pampeyan Lynne D’Aloisio listed in the Spring/Summer issue. Stan Sampson

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old buildings often overlooked in a Museum/Gallery city center now defined by gleam- ing skyscrapers. Call for a personal Exhibitions and appointment and directions to the gallery. Reception: May 13; 5–8 p.m. Lectures May 13 – June 17

Compiled by Jessica Eisenreich ARCADIA FINE ARTS 51 Greene Street Note: In this section CAC Artist New York, NY 10013 and Signature members are typeset 212/965-1387 in BOLD SMALL CAPS. JEREMY LIPKING: Solo Exhibition May 18 – June 3 Suggestion: Before attending any of the following, it is wise to verify ARMORY CENTER FOR public viewing hours. THE ARTS 145 North Raymond Avenue AMERICAN LEGACY Pasadena, CA 91103 Mummy Mask FINE ARTS 626/792-5101 Late 1st century BC to early By appointment Bugology 1st century AD Pasadena, CA An artistic investigation into the Cartonnage, painted and gilded 626/577-7733 world of bugs through the work of 17.32Љ ϫ 11Љ ϫ 9Љ FRANK M. SERRANO: Hidden L.A. 15 contemporary southern Califor- Acquired in 1897 Plein air paintings focusing on nia artists. Their art investigates Collection of The British Museum atypical views in and around what it means to relate aesthetically Exhibited at Bowers Museum Downtown Los Angeles, including with these terrestrial creatures that scenes of remote back alleys and both inspire and repel us at the BOWERS MUSEUM OF same time. CULTURAL ART Reception: March 10; 6–10 p.m. 2002 North Main Street Through May 21 Santa Ana, CA 92706 714/567-3600 THE AUTRY NATIONAL CENTER Mummies: Death and the Afterlife 4700 Western Heritage Way of Ancient Egypt Los Angeles, CA 90027 As part of its joint venture with the 323/667-2000 British Museum, the Bowers has Masters of the American West Fine drawn upon this world-famous col- Art Exhibition and Sale lection of Egyptian mummies and Major invitational exhibition fea- funerary objects as the largest exhi- turing 70 nationally recognized bition of its kind to be shown by the painters and sculptors, including British Museum outside of Britain. CAC artists, PETER ADAMS,CLYDE Through April 15, 2007 ASPEVIG,JOSEPH BOHLER,JUNE CAREY,GEORGE CARLSON,CAROLE CALIFORNIA ART CLUB COOKE,DENNIS DOHENY,CAROL GALLERY GUZMAN,RALPH OBERG,DANIEL W. At The Old Mill PINKHAM,VIC RIESAU,MIAN SITU, MATT SMITH and HOWARD TERPN- 1120 Old Mill Road ING. For information on reception San Marino, CA 91108 tickets or related programs, call Monumental Miniatures II Special Events at 323/667-2000. Featuring original paintings Reception: February 4; 8Љ ϫ 10Љ and smaller by CAC 5:30 – 9:00 p.m. artists CARL BELFOR,GERALD Jeremy Lipking Through March 5 BROMMER,JOHN BUDICIN,JOHN Bedside COSBY,KARL DEMPWOLF,LINDA Oil on linen 30Љ ϫ 18Љ DUPAS,DON DURBOROW,LYNN Exhibited at Arcadia Fine Arts GERTENBACH,DAN GOOZEE,RAY

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HARRIS,DALI HIGA,JACQUELINE CANTOR ARTS CENTER tury. This exhibition highlights KAMIN,PEGGI KROLL-ROBERTS, Stanford University works by founding colony artists. FRANK LENNARTZ,MARGOT Palm Drive at Museum Way Catalogue available. LENNARTZ,SIMON LOK,NILES Stanford, CA 94305 Through May 21 NORDQUIST,JOEL PHILLIPS,RICHARD 650/723-4177 PROBERT,RAY ROBERTS,JUNN ROCA, American ABC: Childhood in 19th- CHRYSLER MUSEUM OF ART RANDALL SEXTON, and MICHAEL Century America 245 West Olney Road SITU. Exploring the connection between Norfolk, Virginia 23510 Through March 5 images of the American child and a 757/664-6200 also young nation. Collecting the Impressionists: Mas- Urban California Through May 7 terpieces from the Sterling and Francine Clark Art Institute Paintings of California’s diverse city CROCKER ART MUSEUM First nationally touring exhibition scenes. Featured artists: MAX BOAS, 216 O Street of works from the permanent col- PATRICIA CHIDLAW,PO PIN LIN, Sacramento, CA 95814 lection of the Sterling and Francine WALTER MCNALL DOUGLAS PAUL 916/264-5423 Clark Art Institute in MORGAN,NANCY POPENOE,SCOTT Artists at Continent’s End: The Williamstown, Massachusetts. PRIOR,GERALD RAHM,JUNN ROCA, Monterey Peninsula Art Colony Highlighting the Clark’s renowned KEVIN SHORT,YISUN WEI, And Beginning in 1875 artists gravitated Impressionist collection, as well as KEITH WICKS. to California’s coastal towns of complementing the Chrysler’s own Reception: March 9; Monterey, Pacific Grove and impressive collection. 5:30 – 7:30 p.m. Carmel developing a significant art March 25 – May 14 March 7 – June 4 colony by the turn of the 20th cen-

Nancy Popenoe Junn Roca Chinatown Historic Olvera Street Pastel on Paper 20Љ ϫ 16Љ Oil on linen 10Љ ϫ 8Љ Exhibited at California Art Club Gallery Exhibited at the California Art Club Gallery

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DAHESH MUSEUM OF ART ing and influential design move- Chinese calligraphy brushes, cele- 580 Madison Avenue ments of modern times. This exhibi- brating the ‘Year of the Dog.’ New York, NY 10022 tion traces the development of the Through February 2007 212/759-0606 movement from its flourishing in Stories to Tell: Masterworks from Britain in the 1880s to its interpre- EASTON GALLERY The Kelly Collection of American tation and development in America, 557 Hot Springs Road Illustration continental Europe, and Japan. Montecito, CA Dahesh Museum of Art Chief March 18 – June 18 805/969-5781 Curator Stephen Edidin will select Urban Landscapes approximately 90 masterworks DEBRA HUSE GALLERY Paintings of city scenes by members from the Kelly Collection, an 229 Marine Avenue of the OAK Group, including exceptionally important private Balboa Island, CA 92662 Whitney Abbott, PATRICIA holding of original oil paintings, 949/723-6171 CHIDLAW, and Richard Schloss. watercolours, and pencil drawings JOHN BUDICIN: Solo Exhibition Through April 2 made in the “golden age” of Amer- Featuring paintings of Crystal ican illustration (c. 1880–1930). Cove, Avalon Harbor and Califor- FIRST AMERICAN TRUST Through May 21 nia’s vanishing wide-open vistas. Orange County Regional Office Reception: March 3; 6–8 p.m. 5 First American Way DE YOUNG MUSEUM March 2 – April 1 Santa Ana, CA 92707 Golden Gate Park Information: 626/583-9009 50 Hagiwara Tea Garden Drive EAST WEST BANK, TORRANCE Special Miniatures Exhibition: San Francisco, CA 94118 23737 Hawthorne Blvd. A Selection from the CAC 415/863-3330 Torrance, CA 90505 Gold Medal Exhibition International Arts and Crafts: William 310/791-6412 As “Presenting Sponsors” of the CAC’s “95th Annual Gold Medal Morris to Frank Lloyd Wright GAYLE GARNER ROSKI: A Brush The Arts and Crafts movement was with History Juried Exhibition,” First American Watercolour paintings of antique Trust is hosting a special exhibition arguably one of the most far reach- of miniature paintings at their regional offices in Santa Ana and La Jolla. Reception: March 7; 6 – 8 p.m. March 6 – 24 also San Diego Regional Office 4380 La Jolla Village Dr., Ste. 200 San Diego, CA 92122 Information: 626/583-9009 Reception: March 22; 5:30 – 7:30 p.m.

FLORENCE GRISWOLD MUSEUM Old Lyme Street Old Lyme, CT 06371 860/434-5542 Finding Religion: American Art from the Hartford Steam Boiler Collection This exhibition of 40 paintings examines how the idea of religion and spirituality was manifested and Dean Cornwell (1892–1960) conveyed in American art between Two Men in Smokey Room the 18th and 20th centuries. Fea- Framed dimensions 34.5Љ ϫ 43Љ turing works by Ralph Earl, Fred- Copyright Kelly Collection eric Church, Fidelia Bridges and Exhibited at Dahesh Museum

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THE GETTY VILLA, MALIBU A dramatic recreation of an exhibit 17985 Pacific Coast Highway installation that allows modern Pacific Palisades, CA viewers to step back in time and 310/ 440-7300 experience a key work of British Molten Colour: Glassmaking in portrait and landscape artist Thomas Antiquity Gainsborough (1727–1788). Through May 14 Showcasing over 180 objects from all periods of ancient glass produc- THE IRVINE MUSEUM tion, 2500 b.c. to the 11th century 18881 Von Karman Ave, Suite 100 a.d. The exhibition also surveys Irvine, CA 92612 ancient glassmaking techniques 949/476-2565 such as core forming, casting, Plant Portraits: The California mosaic, inflating, mould blowing, Legacy of A.R. Valentien and cutting—all of which are still (1862–1925) used by glass artists today. Valentien was the head decorator at Through July 24 the Arts and Crafts Rookwood Pot- Harlan Page (1791–1834) tery in Cincinnati. He moved to Portrait of a Man, c. 1815 California and eventually accepted Oil on canvas GREENHOUSE GALLERY an art commission from San Diego Exhibited at Florence 6496 N. New Braunfels Avenue philanthropist Ellen Browning Griswold Museum San Antonio, TX 78209 Scripps to document California’s 210/828-6491 wildflowers. The project became a A New Beginning 10-year quest throughout California John Twachtman. Featuring 125 new works by that resulted in 1500 species of Through May 28 gallery artists, including BRIAN wildflowers, trees, grasses and ferns. BLOOD,IGNAT IGNATOV,CALVIN Through March 24 FREDERICK R. WEISMAN LIANG, and JEFFREY WATTS. MUSEUM OF ART Through March 10 JOHN PENCE GALLERY Pepperdine University also 750 Post Street 24255 Pacific Coast Highway Russian Impressionism: From the San Francisco, CA 94109 Malibu, CA 90263 Soviet Era to the Present 415/441-1138 310/506-4851 March 18 – April 17 Anthony Waichulis and the Lita Albuquerque: Solo Exhibition also Waichulis Studio Through March 26 Kathryn Stats: Solo Exhibition Waichulis, born 1972, is a contem- also Reception: April 22; 4 – 8 p.m. porary master of the trompe l’oeil On Location in Malibu 2006 April 18 – May 5 painting tradition. The exhibition Plein air paintings by CAC artists also showcases paintings by his stu- celebrating Malibu’s diversity. HAMMER MUSEUM dents working in the same genre. Curated by the Weisman’s executive 10899 Wilshire Blvd. March 2 – April 1 director, Michael Zakian, Ph.D. Los Angeles, CA 90024 also Reception: May 20; 6 – 9 p.m. 310/443-7000 William Bartlett and Adam Forfang May 20 – July 16 Masters of American Comics Featuring provocative still-life and Featuring works by 15 influential figure paintings. GETTY MUSEUM 20th-century American comic April 6 – 29 1200 Getty Center Drive artists, including R. Crumb, Lyonel Los Angeles, CA 90265 Feininger, Chester Gould, Harvey LEGION OF HONOR 310/440-7330 Kurtzman, and Charles M. Schulz. Lincoln Park Courbet and the Modern Through March 12 34th Avenue & Clement Street Landscape San Francisco, CA 94121 This exhibition takes a fresh look THE HUNTINGTON 415/863-3330 at 47 landscape paintings by 19th- 1151 Oxford Road Judging by Appearance: Master century French painter Gustave San Marino, CA 91108 Drawings from the Collection of Courbet (1819–1877). 626/405-2100 Joseph and Deborah Goldyne Through May 14 Sensation and Sensibility: Viewing For nearly four decades, Joseph Gainsborough’s Cottage Door and Deborah Goldyne have formed

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one of the largest and most diverse graduate of Art Center. the countryside of his birthplace, collections of master drawings in Reception: April 26; 5:30–6:30 p.m. where he painted some of his most the U.S. A special aspect of the col- March 14 – May 7 compelling landscapes and penetrat- lection is that Joseph Goldyne is a ing portraits of family members. highly regarded artist, with this NAPA VALLEY MUSEUM Through May 7 experience informing their choices. OF ART The drawings range from old mas- 55 Presidents Circle NORTON MUSEUM OF ART ters by Guercino, Rembrandt, Van Yountville, CA 94599 1451 S. Olive Avenue Dyck and Piranesi to 19th-century 707/944-0500 West Palm Beach, FL 33401 artists such as Turner, Corot, Mil- Romance of the Bells: The Califor- 561/ 832 -5196 let, Pissarro and Degas. nia Missions in Art French Impressionism and Boston March 4 – June 4 Idyllic images of old California are 53 masterworks by 19th and early rooted in the romantic period of 20th century artists including Edgar MARSTON’S RESTAURANT California’s past that is associated Degas, Childe Hassam, Claude (A CAC venue to showcase Mentor with the 21 missions founded Monet and John Singer Sargent. Program Members) between 1769 and 1823. Yet that Through March 5 151 East Walnut Street brief period of 54 years would have Pasadena, CA 91103 a lasting effect on the artistic and NORTON SIMON MUSEUM 626/796-2459 social fabric of the Golden State. 411 West Colorado Blvd. Rising Young Star: JEFFREY WARD Through April 23 Pasadena, CA 91105 Featuring landscapes of the San 626/449-6840 Gabriel Valley by this CAC Mentor NATIONAL GALLERY OF ART Telling Tales Program artist. Reserve for dinner Sixth Street and Constitution Ave. Artworks that tell stories may be and savour delicious cuisine by Washington, DC derived from various sources, award winning chef Jim McCardy. 202/737-4215 including the Bible and other reli- Through March 5 Cézanne in Provence gious texts, classical mythology, his- also Approximately 117 oil paintings tory and even everyday life. Telling Rising Young Star: ERIC MERRELL and watercolors by Paul Cézanne Tales, an intimate exhibition featur- Featuring recent paintings by this (1839–1906) demonstrating his ing 12 artworks, examines how CAC Mentor Program artist and intense, emotional engagement with artists communicate the essential aspects of a tale through gesture, setting, symbol and composition. Through April 17

OCEANSIDE MUSEUM OF ART 704 Pier View Way Oceanside, CA 92054 760/721-2787 Art of the WPA Era Assembled from San Diego collec- tions, this exhibition examines the art created under the Works Progress Administration from 1936 to 1943 as part of Franklin Delano Roosevelt’s New Deal. Lecture: February 16; 7–9 p.m. with Guest Curator Bram Dijkstra. Through March 19

OVERLAND GALLERY OF FINE ART 7155 Main Street Scottsdale, AZ 85251 480/947-1934 Jeffery Ward The Artist’s View Spring Eucalyptus Exhibition of Russian Impressionist Oil on canvas 14Љ ϫ 18Љ paintings from 1930 to 1990s. Exhibited at Marston’s Through April 22

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traditional fine art. An addition to the Gold Medal is a “Miniatures” exhibition of paintings and sculp- ture. All artworks are available for acquisition. April 2 – 23 Gold Medal Information Members of Collectors’ Circle only— Benefit Dinner and Preview: Friday, March 31 6:30 – 9:30 p.m. Ticket Price: $350/ticket or $3,500/table. For information, call Lisa Cavelier, Collectors’ Circle Coordinator, 626/583-9009. l Jeffrey R. Watts Artists’ Gala Reception: Young Painter Saturday, April 1; 6 – 9 p.m. Oil on linen 20Љ ϫ 30Љ Meet the 120 participating Selection from the CAC’s 95th Annual Gold Medal Juried Exhibition artists and preview their latest Exhibited at Pasadena Museum of California Art masterpieces. Ticket Price: $75, includes PACIFIC ASIA MUSEUM Brandt, Phil Dike, Barse Miller, exhibition catalogue 46 North Los Robles Avenue Charles Payzant, Dorothy Sklar, Pasadena, CA 91101 and Milford Zornes. Purchase your tickets 626/449-2742 Through March 26 today online at Reflections of Beauty: Women from also www.californiaartclub.org Japan’s Floating World Raimonds Staprans: Art of or by calling 626/583-9009 Collection of rarely seen Edo- Tranquility and Turbulence period art depicting images of Figurative artist and Latvian born CAC Gold Medal Schedule geishas (entertainers) and oirans Staprans painted in the San Fran- • March 31: Members of (courtesans). cisco Bay Area since the 1950s. He Collectors’ Circle only— March 10 – June 18 is internationally known for his Sneak Preview and Dinner minimal compositions and vividly • April 1: Artists’ Gala PASADENA MUSEUM OF coloured images of nature and nat- Reception CALIFORNIA ART ural forms. • April 6: “How to Look at Art” 490 E. Union Street Through March 19 • April 13: “Collecting Strategies” Pasadena, CA 91101 also See back page “Calendar of 626/568-3665 KEVIN MACPHERSON: Reflections R. Kenton Nelson: Pros and on a Pond Events” for details. Cons/Rhyme or Reason 190 paintings of a single pond in This Pasadena-based artist’s paint- New Mexico created over five years PHOENIX ART MUSEUM ings are contemporary recollections to expreses the various moods of 1625 North Central Avenue of the graphic style exemplified by nature. Catalogue available. Phoenix, AZ 85004 the American Scene painters, the Reception: April 7; 7 – 9 p.m. 602/257-1222 Regionalists, and the WPA (Works April 1 – 30 Big City: Cityscapes and Urban Progress Administration) artists of also Life from the Collections the 1930s, as timeless tableaux of California Art Club 95th Annual Featuring American artists’ varying American culture. Gold Medal Juried Exhibition depictions of city life from 1841 to also The First American Corporation, 1979. Fun, California Style First American Trust and Majestic Through March 19 2nd exhibition in a 4-part series Realty Foundation are Presenting also exploring the California Regionalist Sponsors of one of the nation’s pre- Collecting the Impressionists: Style, including paintings by Rex mier exhibitions of contemporary- Masterpieces from the Sterling and

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Francine Clark Art Institute SANTA BARBARA SPENCER JON HELFEN Highlights from the Institute’s col- MUSEUM OF ART FINE ARTS lection of Impressionist Masters 1130 State Street 9200 West Olympic Blvd., featuring paintings by Claude Santa Barbara CA 93101-2746 Suite 200 Monet, Edgar Degas, Berthe 805/963-4364 Beverly Hills, CA 90212 Morisot, and others. Renaissance to Rococo: Master- 310/273-8838 Through March 12 pieces from the Collection of the Jacques Schnier, Master of the Art Wadsworth Atheneum Museum Deco Aesthetic REDFERN GALLERY of Art Featuring sculpture and works on 1540 South Coast Highway Through May 28 paper from 1927 to 1946. Laguna Beach, CA 92651 Through March 4 949/497-3356 SCAPE GREGORY HULL: In the Footsteps of 2859 E. Coast Highway STERLING AND FRANCINE Edgar Payne Corona del Mar, CA 92625 CLARK ART INSTITUTE An exhibition of contemporary plein 949/723-3406 225 South Street air paintings inspired by artist Edgar R. Kenton Nelson: Narrative Idealism Williamstown, MA 01267 Payne’s early 20th-century treks Featuring Nelson’s recent oil paint- 413/458-2303 through the majestic sierra terrain. ings and two new book releases on Paper Trails: 100 Great Drawings, Through April 1 his work. Prints, and Photographs from the Through March 11 Clark SAN DIEGO MUSEUM OF ART This 50th anniversary exhibition 1450 El Prado SITU ART GALLERY features 100 drawings, prints, and Balboa Park 1294 South Coast Highway, #A photographs from the Clarks’ per- San Diego, CA 92112 Laguna Beach, CA 92651 manent collection of 5,000 works 619/232-7931 949/376-6701 of art on paper spanning 500 years. In Stabiano: Exploring the Ancient Gallery Opening Group Exhibition Through April 30 Seaside Villas of the Roman Elite This newly opened gallery features Featuring 2,000 year-old Roman artwork by RUO LI, Zhuo S. Liang, SULLIVAN GOSS AN frescoes and sculptures. Pino, MIAN SITU and BI WEI. AMERICAN GALLERY Through May 14 Ongoing 7 East Anapamu Street Santa Barbara, CA 93101 805/730-1460 Nicole Strasburg: 40 + 40 @ 40 40 oils on birch and 40 oils on paper depicting California’s coastline. Through March 30

TERRENCE ROGERS FINE ART 1231 Fifth Street Santa Monica, CA 90401 310/394-4999 Michael Chapman: Solo Exhibition March 18 – April 29

TIRAGE FINE ART GALLERY One West California Boulevard Pasadena, CA 91101 626/796-0506 Destinations Paintings of the artists’ travels, fea- turing JANE COULOMBE,JOHN CREECH,ELLIE FREUDENSTEIN, PATRICK HARPER,BRENT JENSEN, FRANK LALUMIA,PAULETTE LEE and MARTHA SAUDEK. Gabor Svagrik Through April 1 Desert Light Pastel on paper 8Љ ϫ 10Љ Exhibited at Gold Medal “Presenting Sponsors’” venues and at PMCA

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TORRANCE ART MUSEUM 3320 Civic Center Drive Torrance, CA 90503 310/618-6340 William Lees Judson (1842–1928): Arroyo Seco and Beyond: Paintings from the Collection of H. Douglas Judson Paintings of Pasadena’s Arroyo Seco by early California Art Club member, William Lees Judson, who studied under Jules Lefebvre at the Académie Julian in Paris. Through March 11

WOMEN’S CITY CLUB OF PASADENA (A CAC venue for Painting Patron Members) 160 North Oakland Avenue Pasadena, CA 91101 626/796-0560 Our Cultural Landscapes: America’s National Parks Featuring paintings by CAC Mem- John Francis bers Krystal Allen, R. Arnett, Mike Guiding Light, Point Reyes National Park Bagdonas, Karen Blume, Bonnie Oil on canvas 20Љ ϫ 24Љ Born, Jennifer Boswell, Stuart Bur- ton, Robin R. Cloud, Mary Miears Exhibited at Women’s City Club Cutsinger, Teresa Dong, Nancy Egan, Jon Francis, Cynthia Hamil- ton, Joan Hoffman, Steve Kell, Jerome Lipetzky, Andre Lohnert, Link Your Website to the CAC! Shawn McKelvey, Jane Newman, Gwen Novak, Terumi Paganini, A direct link with the CAC to your website and/or e-mail address results Kendra Page, Liz Reday, Linda in higher traffic for you. If you are an Artist or Painting/Sculpting Patron Rogers, Jeff Sojka, Yvonne Stein- Member, the CAC can provide a direct link to your own website for a bach, Christine Stilson, Marianne Strehler, Kathryn Townsend, Laura nominal $5 per month. Your link will appear in the Directory list fol- Williams, Laura Wynne, Jeff Yeo- lowing your name. Anyone who visits the CAC site will be able to link mans, and Chung Sup Yoon. directly to you! To sign up, go to www.californiaartclub.org, click on Through May 6 Directories, then go the Link Sign-up.

Subscribe to the CAC E-Newsletter! Great Gift Idea! Keep informed on upcoming Subscriptions to the California Art Club events and programs by Newsletter and Patron (non-artist) Membership subscribing to the CAC’s new Monthly E-Newsletter. are available for $50; Send us your e-address to [email protected] Painting/Sculpting Patron Membership is $65. or call Call 626/583-9009 or join online at 626/583-90009 and sign-up today! www.californiaartclub.org

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landscape oil, Slow Motion, voted on by artist peers. In Membership News addition, Chmiel was presented with the Maynard Dixon Memorial Award for best display of three or Note: For a complete listing of Membership News for more works. Charles Muench of Markleeville, Califor- Painting/Sculpting Patron Members, please go to nia, was awarded the “Popular Choice Award” voted www.californiaartclub.org on by all attendees for his painting of Dixon’s View.

The Crystal Cove Alliance held their third annual gala Oil Painters of America 14th National Juried Exhibition to raise funds in support of preserving historic Crystal held May 2005 at the Hilligoss Galleries in Chicago was Cove. Forty-two renowned plein air artists were invited juried by renowned artist, Dan Gerhartz. The National to Laguna to create unique paintings of Crystal Cove Award was presented to Tony Pro for Mother’s Love. for competition, exhibition and sale. The paintings Additional CAC members who received awards were were judged by Jean Stern, executive director of The Ignat Ignatov, Jeanette LeGrue, Calvin Liang, Kevin Irvine Museum. John Asaro received first place for his Macpherson, Ray Roberts and Carol Swinney. 32Љ ϫ 28Љ painting La Jolla Cove. Dan Goozée received second place and Clark Mitchell was presented with Meredith Brooks Abbott’s recent paintings were the third. Honourable mentions went to CAC artists, Ken focus of an exhibition at the Bakersfield Museum of Auster, John Cosby, W. Jason Situ, Jim Wodark, and Art during the month of December 2005. Charles Muench who also received “Directors Choice for Best of the Cove.” The event raised $300,000. Sunny Apinchapong-Yang’s paintings were featured in a solo exhibition entitled “Ireland Revisited” at The Maynard Dixon Country Annual Event held in Salt Oriel Gallery in Dublin, Ireland, September 22 – Lake City, Utah in September and sponsored by the October 15, 2005. Thunderbird Foundation for the Arts, announced their winners. Len Chmiel of Hotchkiss, Colorado received Mary Backer’s painting, Kaleidoscope, will be featured the Golden Thunderbird Award’s “Best in Show” for his in SPLASH: Tips and Techniques published by North Light Books. North Light Books is also publishing Mary’s new book Watercolour in Bloom: Painting the Spring and Summer Garden. Her work was included in the Watercolour West XXVII Annual Juried Exhibition at the Riverside Art Museum in Riverside, California, September 10 – October 23, 2005.

Victoria Brooks’ painting, Where Does it Hurt, was American Legacy juried into the “Best of America Exhibit 05” by the Fine Arts, LLC National Oil and Acrylic Painters’ Society (NOAPS). She has also been accepted into the NOAPS Signature Through our doors you will find the finest in Artists Guild.

American contemporary-traditional art John Budicin was featured in American Artist Magazine including the work of Peter Adams, in the article, “The Secret of Success: Never Settle.” George Carlson, Jeremy Lipking, Robert Grogan’s painting, Coastal Morning, was Daniel W. Pinkham and Frank M. Serrano accepted into the 6th Annual American Impressionist We invite you to call Society’s National Juried Exhibition in Taos, New Mexico. He was also awarded Signature Membership for your personal visit in the American Impressionist Society (AIS) and is the President- Elect for the AIS. Grogan has also been cho- sen as the Summer Artist-in-Residence at the National www.americanlegacyfinearts.com Museum of Wildlife Art in Jackson Hole, Wyoming 626.577.7733 during summer 2006. Post Office Box 92345, Pasadena, California 91109 Anna T. Kelly was accepted into the Oil Painters of America’s Western Regional Juried Exhibition of Small

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Paintings. Kelly was also juried into the Carmel Art Festival 2005 Plein Air competition and San Luis Obispo Plein Air Painting Festival.

Dick Heimbold’s artwork created during the CAC’s “Spiritual Spectrum” exhibition held at the Cathedral of Our Lady of the Angeles in 2004 was selected to represent the Cathedral’s wine as bottle labels.

Frank Lennartz’s painting, Spring Thaw at Twin Lakes, was juried into the National Oil Painters of America Exhibition of Traditional Oils held May 2005 at the Hilligoss Galleries in Chicago.

Kevin Macpherson has published a new book, Reflec- tions on a Pond, featuring over 400 colour reproduc- tions of his work. For ordering information please visit: www.kevinmacpherson.com. A selection of these paint- ings will be exhibited at the Pasadena Museum of Cali- fornia Art in April 2006.

Stephen Mirich’s paintings of the Irving Johnson, a beached shipped discovered earlier this year in Ventura Beach, were featured in a solo exhibition at the Carnegie Art Museum November 2005.

Clark Mitchell received Best of Show for his pastel painting Red Tide at the 7th Annual Laguna Beach Plein Air Invitational.

Dean Mitchell, CAC Out-of-State Artist member Ariana Richards’ painting Lady of the Dahlias received the mounted a solo exhibition to benefit victims of Hurri- cane Katrina. Scenes of New Orleans and the Gulf 1st place award in the 2005 National Professional Painting Coast were on display at the Red Piano Art Gallery in Competition sponsored by American Artist magazine. Hilton Head Island, South Carolina from September 22 Richards is also featured in an article by Vicky Stavig in to October 22. 10% of all sales were donated to the the March/April issue of Art of the West magazine. American Red Cross’ relief effort. Robert Schaar was selected as the official artist for the Arillyn Moran-Lawrence’s painting, Golden Umbrella, 130th Preakness Stakes, the second race in the Triple was juried into the 109th Exhibition of the Catharine Crown Series that was held in Baltimore, Maryland at Lorillard Wolf Art Club of New York City. the Pimlico racetrack. He attended the race as a special guest for his work reproduced as the official event poster. Zenaida Mott received a feature article in the March issue of Plein Air Magazine. Alex Schaefer was featured in the January issue of Southwest Art in an article entitled, “10 Painters on the Jean Osher was accepted into the National Juried Show Rise in 2006.” He was also awarded top prize at the of American Women Artists at the Texas Gallery in Gallery 825 Open Show 2006. Dallas, November 18 – December 19, 2005. Michael Situ is a featured artist in the February/March Scott Prior was featured in the Artists to Watch section 2006 issue of International Artist Magazine in an arti- of the November issue of Southwest Art Magazine. He cle entitled, “Use the Colour and Light You See to also won the Laguna Plein Air Painters Association’s Sharpen Your Landscape,” describing his personal Artist Membership Show, May 2005. painting philosophy. Richard Probert was awarded a Purchase Prize in the Scenes of Eagle Rock Art Exhibition for his painting of Carol Swinney received the Best in Show at the Rock the area’s namesake rock. Mountain Plein Air Painters “Fall Colours 2005” com- petition for her painting, Below Chasm Falls.Two of

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her paintings were also accepted into the 2005 Central Regional Exhibition of the Oil Painters of America. Retractions

Elizabeth “Libby” Tolley was awarded “Best in Show” Michael Situ was at the 2005 San Luis Obispo Plein Air Festival with her awarded the Artist’s painting Daybreak. She was one of fifty-two artists Choice Award at the invited to participate in this fourth annual event hosted Sonoma Plein Air by the San Luis Obispo Art Center, October 2005. 2004 Event for his painting, Corner of Jeffrey Watts received a full feature article entitled Sonoma Square. The “Timeless Approach” written by Todd Wilkinson in the Summer issue of the November 2005 issue of Southwest Art Magazine. newsletter mistakenly listed this award Bulletin Board under Mian Situ.

CAC Gallery Member TAG GALLERY of Santa Monica Michael Situ is interviewing for a part-time Gallery Director. Appli- Corner of Sonoma Square cants should be motivated and personable with strong Oil on panel 9Љ ϫ 12Љ marketing, sales, public relations, and office skills. Artist’s Choice Award for the Knowledge of Microsoft Office and Photoshop Sonoma Plein Air 2004 Event required. Position opens February 15. Send letters of Joseph Okonek’s sculpture After the Bath was juried interest and resumes to [email protected]. into the National Sculpture Society’s 72nd Annual Awards Exhibition. The Summer issue of the newslet- ter mistakenly listed After the Bath as a painting.

H elp the California Art Club with its mission to promote contemporary-traditional fine art by supporting the 95th Annual Gold Medal Juried Exhibition with your tax-deductible donation.

Make check payable to: California Art Club P.O. Box 92555 Pasadena, CA 91109 626/583-9009

Thank you for your support!

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The California Art Club is pleased to introduce the following Presenting Sponsors of the 95th Annual Gold Medal Juried Exhibition. Together, they have contributed $50,000 in direct support of the upcoming Gold Medal exhibition. Please join us in thanking our genuine friends and generous supporters!

Gold Medal “Miniature Paintings” Tour Schedule: January 13 – February 10 l Majestic Realty Foundation – Pacific Palms Conference Resort, Industry Hills March 6 – 24 l First American Trust – Orange County Regional Office, Santa Ana March 22 l First American Trust – San Diego Regional Office, La Jolla See Exhibitions listings for details.

Purchase your Gold Medal tickets today online at www.californiaartclub.org or by calling 626/583-9009.

New Members Simon Addyman Janet Buckley Julie Houck Pilar Menendez Gregg Russell Valley Village, CA Hermosa Beach, CA Paia, HI San Marino, CA Meridian, ID David Alber Lei Chen Donna Johnson Margaret Missman Marileigh Schulte Belmost, CA Rowland Heights, CA Redlands, CA Rancho Palos Verdes, Rancho Santa Fe, CA Linda Blevins Elizabeth Clayton Peter Jordan CA Jonathon Spaulding Nipomo, CA San Francisco, CA Palos Verdes Estates, CA Robert R. Newport Pasadena, CA Julia L. Braeger Patrick Farrand Geri Keary Los Angeles, CA Timothy Thies Newport Beach, CA Long Beach, CA Martinez, CA Jay Otero Coeur d’Alene, ID Beverly Bruntz Diane Fedyna Nora Koerber Redlands, CA Michele Thompson Yorba Linda, CA Silver Bay, MN Pasadena, CA Nancy Overpack Santa Clarita, CA Margit Chanky-Arvay Peter Fehler Louisa Lee Orange, CA Deborah Thornhill La Crescenta, CA Woodland Hills, CA Alta Loma, CA Gay Summer Rick Northridge, CA Hugh Baker Vanya Foster James Lehrer Malibu, CA Elizabeth Tucker Los Angeles, CA Los Angeles, CA Los Angeles, CA James Riley La Canada, CA Garnet Batinovich Jacquelyn Fox Ron Lemen Vallejo, CA David Williams Menlo Park, CA Los Angeles, CA Encinitas, CA Migdra Sue Robinson Tappahannock, VA Clarence Betleyoun Barbara Fracchia Amy Lindner Lemoore, CA Richard Willson Macon, GA Kensington, CA Austin, TX Trudy Robinson Los Angeles, CA Dee Boyles Joan E. Fraser Jennifer Mathews Palos Verdes, CA Bruce A. Wilson Aptos, CA Pasadena, CA Newport Beach, CA Barbara Rogers Altadena, CA Donald Britton Deloris Anne Haddow Margaret McAustin Lakewood, CA James Wisnowski Incline Village, NV West Covina, CA Pasadena, CA Marsha Rosenberg Santa Monica, CA John Brunnick Peter Hitch Maura McHugh Los Angeles, CA Darryl Yee Van Nuys, CA Newport Coast, CA San Diego, CA Alhambra, CA

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In Memoriam

Terrence Rogers (1953–2005) l

by Peggy Clifford, Editor Santa Monica Mirror

Terrence Rogers wasn’t just an art dealer, he was drawing rooted in American aesthetic traditions an art lover. Walking though a gallery with him that date back to the Hudson River School. The was inevitably electrifying because his excitement technical gifts of the artists he represented ranged and passion was palpable. In 1980, form intense, precisely controlled he began work at the Tatischeff renderings to spontaneous, immedi- Gallery in New Your. In 1987, he ate plein-air painting, and the pro- came to Santa Monica and opened found clarity of Rogers’ sensibility Tatischeff/Rogers Gallery on Broad- won his gallery a unique place in the way. Ten years later, he suffered kid- Los Angeles art scene. Rogers was ney failure, and was forced to close the founding member of the Santa the gallery. His health restored, he Monica-Venice Art Dealers Associa- opened a new gallery, Terrence tion, and was instrumental in Rogers Fine Art, on Fifth Street in launching the first Los Angeles 1999, and continued to work, write International.A native of northern and advise clients until shortly California, Rogers studied at the before he died in Santa Monica- California College of Arts and UCLA Medical Center on Friday, Crafts in Oakland, and School of June 17, from complications following a stroke. Visual Art in New York City. He is survived by his He was 52. Unmoved by trends or fashions, devoted partner of 28-years, Terry Martin, and his Rogers was an iconoclast who cut his own path mother, Naomi Rogers, both of Santa Monica, his through the tangle of contemporary art, and sisters Shirley Walker and Judy Jacoboni and his championed observation-based painting and brothers Richard and Ron.

In Memoriam

Katherine Davis (1926–2005) l

California Art Club Artist Member Katherine movie stars, and soon became “hooked” on por- Davis (1926–2005) passed away last May. trait painting for the rest of her life. Winning “Katie” Davis was born in California in May numerous awards, and being featured in publica- 1926. As a child, she drew birds from Audubon tions such as Art of the West magazine, Katie’s books, flowers from the Germain Seed Catalogue portraits are displayed in collections throughout and wild animals from Thomas Seton’s books. California. In her teens, Katie started drawing pictures of

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Winter/Spring 2006 Executive Board of Directors Peter Adams, President David Gallup, 1st Vice President Collectors’ Circle Corner Keith W. Renken, Treasurer John F. Walker, Secretary Note: For upcoming programs, please see back page. Board of Directors David V. Adams James A. Rea Elaine Adams Victor D. Riesau Highlights of Recent Activities Lisa Bloomindale Bell Victoria B. Rogers Thomas E. Larkin, Jr. Gayle Garner Roski The premier event each year for the Collectors’ Circle is the “Annual Daniel W. Pinkham Nella Webster Art Dinner” which was held this year at the lovely Bel Air home of Advisory Board Members movie producer Martin Ransohoff and his wife, Joan, a CAC Artist Jeannie Brunnick Douglas Paul Morgan Ron Chesley Frank Serrano Member. Seventy Collectors’ Circle members gathered on October 17 at David Damm Christopher Slatoff Karl Dempwolf Jerry Solomon the Ransohoff’s home to enjoy an excellent dinner and a special presen- Donald G. Durborow Cathy Springs tation by award-winning artist, Mian Situ, who provided insights on his Wanda Durborow Aaron St. John Lynn Gertenbach William Stout work through personal anecdotes and a slide presentation. Collectors’ Randy Higbee Ralph Waterhouse Circle Chairman Gayle Roski expressed, “This was a fabulous and Donald Hildreth Keith Wicks Jacqueline Kamin Robert Zasa inspiring evening of art. Mian is an amazing talent and we all enjoyed Stephen Mirich learning more about his work. The evening was a wonderful opportu- San Diego Chapter nity to grow our friendships among members as well as with Mian.” Aaron St. John Chairman Cathy Springs To learn more about Collectors’ Circle programs Co-Chairman or how to join, please call the California Art Club’s San Francisco Bay Area Chapter Collectors’ Circle Coordinator, Lisa Cavelier at 626/583-9009, Douglas Paul Morgan or visit our website at www.californiaartclub.org and Co-Chairman Keith Wicks click on “About Us” then, “Membership Categories.” Co-Chairman Santa Barbara Chapter Welcome New CAC Collectors’ Circle Ralph Waterhouse Chairman Collectors’ Circle Members! Committee Executive Director Michael and Barbara Brickman Gayle Garner Roski, Chairman Elaine Adams Collectors’ Circle Coordinator Beverly Hills, CA Elaine Adams Lisa J. Cavelier Marcia Caden and Maurice Linda Adams Public Relations Director Beverly Chang Goldberg Lisa Bloomingdale Bell Membership Director Beverly Hills, CA Carol Henry Jasmine Chang Silvia and Ernie Marjoram Joan Ransohoff Program Manager Jessica Eisenreich Los Angeles, CA Donna Schroeder Exhibitions Curator Patricia Hale Riggs Earlene Seymour Miriam Nöske Financial Director Valencia, CA Maggie Simms Susan Martin Amanda and George Shore Alyce Williamson Website Manager and Archivist Eric Merrell Beverly Hills, CA Jane and Robert Stuart Rancho Mirage, CA Y California Art Club Newsletter Written for the concerns of Traditional Art CAC, P.O. Box 92555, Pasadena, CA 91109 tel: 626/583-9009 fax: 626/577-9331 Editorial Submissions e-mail: [email protected] website: www.californiaartclub.org Information for the California Art Club Newsletter may

ELAINE ADAMS, Editor-in-Chief be submitted through any of the following methods: Miriam Nöske, Assistant Editor E-mail [email protected], fax 626/577-9331 or William Stout, Managing Editor mail CAC Newsletter, P.O. Box 92555, Pasadena, CA Contributing Editors: 91109-2555. Images can be sent in the following formats LISA CAVELIER,BEVERLY CHANG,JESSICA (in order of preference): 4ϫ5 transparency, 35 mm slide, EISENREICH,ERIC MERRELL and Molly Siple high-resolution digital file, or photo print. Submission REMEMBER THE CALIFORNIA ART CLUB ELAINE ADAMS, deadlines for the quarterly issues are: when it comes time to making donations and your Editor-in-Chief Winter/Spring, December 1; Spring/Summer, March 1; Last Will and Testament. Summer/Fall, June 1; and Fall/Winter, September 1. Newsletter Design: Glover Design Group Advertise in the CAC Newsletter l Call 626/583-9009 for a rate card.

California Art Club www.californiaartclub.org Winter/Spring 2006 CALENDAR OF EVENTS FOR MEMBERS CAC Calendar of Events OF COLLECTORS’ Save the Dates — Reserve Now! rsvp 626/583-9009 or [email protected] CIRCLE ONLY Sunday, March 19; 1:30 – 3:30 p.m. l Gold Medal Sneak l CAC Meeting—Sculpture Tour of the Norton Simon Museum Preview Location: Norton Simon Museum Attend the “First Annual Cali- 411 West Colorado Boulevard, Pasadena, CA, 91105 fornia Art Club Collectors’ Join world-renowned CAC Sculptors Béla Bácsi and Christopher Slatoff for Circle Benefit Dinner” and a private tour of the Norton Simon’s extensive sculpture collection. enjoy a sneak preview of the Admission: $13 for CAC members; $18 for non-members 95th Annual Gold Medal (includes museum entrance) Juried Exhibition at the RSVP: 626/583-9009 or online at www.californiaartclub.org Pasadena Museum of Califor- Lunch: Join fellow CAC members at noon at Norton Simon’s Patina nia Art before the following Group Café and enjoy lunch in the garden—Dutch treat. night’s opening. Dine among 95th Annual Gold Medal Juried Exhibition Programs the art: Tables of 8 plus Saturday, April 1; 6 – 9 P.M. “adopt” a Gold Medal artist of l Artists’ Gala Reception your choice for $3,500; indi- Meet the 118 participating artists and preview their latest masterpieces. vidual tickets for $350. Ticket Price: $75, includes exhibition catalogue. Thursday, April 6; 6:30 – 8:30 P.M. To learn more about these l Gold Medal Program: “How to Look at Art” programs or how to join the Panel discussion on what to look for when viewing traditional fine art. The group Collectors’ Circle, please call will refer to various artwork in the Gold Medal Exhibition to illustrate their points. the California Art Club’s Panelists: Peter Adams, CAC President; Amy Scott, Curator of Visual Art for Autry Collectors’ Circle Coordinator, National Center; Christopher Slatoff, CAC Sculpture Chairman; Frank Serrano, CAC Gold Medal Chairman; Michael Zakian, Ph.D., Director of the Lisa Cavelier at 626/583-9009, Fredrick R. Weisman Museum of Art or visit our website at Thursday, April 13; 6:30 – 8:30 P.M. www.californiaartclub.org l Gold Medal Program: “Collecting Strategies” and click on “About Us” then, Panel discussion on strategies that beginning and established collectors can implement “Membership Categories.” to build their art collections. Panelists: Elaine Adams, Director of American Legacy Fine Arts, LLC and CAC Executive Director; John Moran, President of John Moran Auctioneers; Scot Levitt, Director of California and American Paintings at Bonhams & Butterfields Auctioneers; Nella Webster, Regional Vice President of First American Trust Location: Pasadena Museum of California Art 490 East Union St., Pasadena, CA 91101 (Directions only: 626/583-3665) Admission: Free with museum entrance ($5) RSVP and Tickets: 626/583-9009 or online at www.californiaartclub.org California Art Academy and Museum, an affiliate of the CAC, presents Master Artist Workshops – See page 16 for details

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