David Fertig 2012

Bonaparte, 2011, huile sur panneau / oil on panel 13 ½ x 13 1/8 inches

G A L E R I E D E B E L L E F E U I L L E

The life and times of the late 18th Century, especially The surface and handling of paint is perhaps the most the pomp and pageantry of the military have been the remarkable aspect of Fertig’s work. .As a young artist focus of David Fertig’s work for the last decade. While in the early 1960s, Fertig absorbed the ethos and it is tempting to see Fertig as a history painter, yearning approach of Abstract Expressionism, another heroic to resurrect the ancient dichotomy of Academicism moment in history, which was the dominant style at the versus Romanticism, this viewpoint is not correct. Fertig’s time. His brushstrokes and facture relate directly to ambition is to engage a much more current moment in the Post-War painting especially as practiced by John history of painting, namely the New York School, its Graham and Nicolas de Stael. While this movement is antecedents and aftershocks, especially as it relates to the usually associated with abstraction, Fertig prefers to figurative tradition. look at the figurative impulse within it. From his swirling impasto and scumbling emerge entirely convincing His use of ships and soldiers as subject matter stems illusions of space and figures, much like Fertig's mentor, from his deep interest in the period about which he is a Robert Kulicke. Furthermore, Fertig does not dismiss self-taught authority. Fertig’s curiosity about the late illustration art (he adored Treasure Island as a child) th 18 Century affairs of Europe and North America has led and as his titles suggest, he does want to tell a story, or him to read primary sources about the armies and at least suggest one. Fertig's work conveys what he navies of the time such as the proceedings of inquests into imagines actually happened. In this regard, Fe1tig should the loss of vessels made by the British Admiralty and be grouped with his friend Robert Andrew Parker, as the personal correspondence of field marshals. He well as with more widely renowned artists such as R. B. prefers to study first-hand accounts to later fictionalized Kitaj and Jim Dine. All of these artists privilege the ones. To aid in his art-making, Fertig consults etchings, figure, allow nature to influence their painting and paintings and sculptures from the era, which give him a convey a narrative to their audience, while staying true good sense of the appearance of the people and things he to the stylistic achievements of their immediate depicts. Fertig harnesses his passion for a particular predecessors. By Jay Grimm moment in history to address the timeless concerns of painters: composition, colour, line, light and the David Fertig was born in 1946 in Philadelphia, integration of figure into landscape. Pennsylvania. He lives and works in rural Pemberton, New Jersey.

Depuis une dizaine d’annés ,la vie à la fin du XVIII e Les aspects les plus remarquables de son art participent siècle, notamment la pompe et l'apparat militaire, est le thème sans doute de la surface el du traitement de la peinture. central de l 'oeuvre de David Fertig. Toutefois il serait faux, Plus jeune, au début des années 1960, Fertig a intégré bien que tentantl, de ne voir en cet artiste qu’un peintre la doctrine et l’approche prééminentes d'un autre d’histoire s oucieux de raviver l’ancienne dichotomie entre movement marquant, l'Expressionisme abstrait. Son l'académisme et le romantisme. Fertig cherche plutôt à saisir pinceau et son style évoquent immédiatement la peinture un moment beaucoup plus actuel de l’histoire de la peintre: de l'après-guerre, plus précisémcnt ce!le des oeuvres de l’École de New York et ses antécédents et conséquences, John Graham ct de Nicolas de Stael. Bien que ce notamment sur le plan de la tradition figurative. mouvement soit généralement associé à l'abstraction, Fertig préfère y voir la tendance figurative qui l 'anime. La représentation de soldats et de bateaux dans l'oeuvre dc Du tourbillon d es empâtements et des glacis de ses Fertig vient de son vif intérêt pour une période dont il est un peintures émergent des illusions parfaitement expert autodidacte. Sa curiosité pour les affaires e uropéennes convaincantes d'espaces et de figures qui rappellent et nord-américaines de la fin du XVIII e siècle l'a incité à indubitablement la touche de son mentor, Robert Kulicke. lire les sources primaires associées aux armées et aux m arines De plus, Fertig n’écarte pas l’art de l’ illustration (enfant, de l'époque, tels les procès-verbaux des enquêtes de il adorait L’Ȋle au trésor) et comme le donnent à penser l'Amirauté britannique sur ses pertes de vaisseaux ou la les titres de ces oeuvres, il souhaite vraiment raconter correspondance privée des maréchaux. Aux récits romancés, il ou, du moins, suggérer une histoire. Il représente les préfère les comptes rendus de première m a i n et pour choses comme il imagine qu'elles se sont vraiment s'imbiber de l’apparence des personnages et des choses qu’il passes. Aussi ne devrait-il pas être séparé de son ami d écr i t, il s'inspire des eaux-fortes, tableaux e t sculptures de Robert Andrew Parker ou d 'autres artistes plus célèbres, cette époque. Harnachant sa passion pour un moment parliculier tel R. B. Kitaj ou Jim Dine, qui tous privilégient la de l ’ histoire, il s’intéresse aux préoccupations éternelles des figure, laissant la nature influencer leur peinture et offrant peintres: la composition, la couleur, la ligne, la lumière et à leur public un récit, tout en restant fidèles aux réussites stylistiques de leurs prédécesseurs immédiats. l’intégration des figures aux paysage. .

Aides-de-Campe, 2011 huile sur panneau / oil on panel 7 1/4 x 9 3/8 inches

The Boat from the ‘Agamemnon', 2011 huile sur panneau / oil on panel 9 3/4 x 9 3/8 inches

7th Regiment Hussar, 2011 huile sur panneau / oil on panel 12 5/8 x 11 1/2 inches

Aide-de-Campe, 2011 huile sur panneau / oil on panel 12 x 8 7/8 inches

The Loss of the Margaret Thomas, 2003 huile sur panneau / oil on panel 12 3/8 x 12 1/2 inches

Delacroix, 2011 huile sur panneau / oil on panel 10 1/8 x 9 7/8 inches ..

Bonaparte, 2001 huile sur panneau / oil on panel 12 1/4 x 13 1/4 inches

The Woman on the Cliff, 2011 huile sur panneau / oil on panel 9 3/4 x 10 1/8 inches

Parade, 2007 Huile sur panneau / oil on panel 9 3/8 x 11 1/2 inches

Hussar, 2011 huile sur panneau / oil on panel 10 x 8 1/4 inches

1802, 2005 huile sur toile / oil on canvas 9 3/4 x 10 3/4 inches

Buonaparte, 2011 huile sur toile / oil on canvas 11 3/4 x 8 7/8 inches

Page de gauche / Left Page: Buonaparte, 2011 The Aides-de-Campe of Marshal Ney, 2011 Huile sur panneau / oil on panel Huile sur panneau / oil on panel 10 3/4 x 9 3/4 inches 29 1/4 x 29 3/8 inches . .. .

The Loss of the ‘Sophie Dupree’, 2011 huile sur panneau / oil on panel 5 3/4 x 16 7/8 inches

Quiberon Bay, 2011 huile sur panneau 9 3/8 x 18 3/8 inches

Royal Marines,2011 Huile sur panneau / oil on panel 9 1/8 x 13 1/4 inches

The Boat from the ‘Arrow’, 2011 Huile sur panneau / oil on panel 11 x 12 1/2 inches ..

1793, 2011 huile sur panneau / oil on panel 9 7/8 x 14 7/8 inches

1792, 2011 huile sur panneau / oil on panel 8 1/2 x 14 1/2 inches

The ‘Constitution’ and the ‘Guerierre’, 2011 huile sur panneau / oil on panel 10 1/4 x 10 5/8 inches

The ‘Wasp’, 2004 huile sur toile sur panneau / oil on canvas on panel 11 x 13 7/8 inches

The Glorious First of June, 2011 huile sur panneau / oil on panel 7 3/4 x 12 7/8 inches

BIBLIOGRAPHIE I BIBLIOGRAPHY

Scolarité / Education

1972 MFA, Art Institute of Chicago, Illinois 1986 John Warren Bookseller, Philadelphia, PA 1984 Griffin-Haller Gallery, Washington Depot, CT 1967 BFA. Philadelphia College of Art, 1983 Noyes Museum, Oceanville, NJ Pennsylvania 1977 Pennsylvania Academy of the Fine Arts,

Philadelphia Expositions individuelles principales

Selected Solo Exhibitions

2012 Galerie de Bellefeuille, Montréal, Quebec Expositions de groupe principales 2011 Paul Thiebaud Gallery, San Francisco, CA Selected Group Exhibitions 2010 Sladmore Contemporary, London, England 2009 James Graham & Sons, New York, NY 2008 James Graham & Sons, New York, NY 2011 “Two Painters”, PDX Gallery, Portland, OR 2007 Paul Thiebaud Gallery, San Francisco, CA 2006 “Summer Selections”, Mulry Fine Art, 2006 James Graham & Sons, New York, NY West Palm Beach, FL Paul Thiebaud Gallery, San Francisco, CA 2006 “Wood Work”, James Graham & Sons, New York, NY 2005 James Graham & Sons, New York, NY Paul Thiebaud Gallery, San Francisco, CA Collections 2004 Paul Thiebaud Gallery, San Francisco, CA 2003 James Graham & Sons, New York, NY Blue Cross of Pennsylvania, Camp Hill, PA 2002 More Gallery, Philadelphia, PA Chemical Bank. New York, NY 2001 Paul Thiebaud Gallery, San Francisco, CA Cigna, Philadelphia, PA 2000 Tatischeff Gallery, New York, NY Citibank, New York, NY 1998 Kerygyma Gallery, Ridgewood, NJ Citicorp, Newcastle, DE 1997 More Gallery, Philadelphia, PA Colgate University, Hamilton, NY 1996 Evansville Museum of Arts, Indiana Cooper & Lybrand, Philadelphia, PA 1995 More Gallery, Philadelphia, PA Evansville Museum of Art & Science, Evansville, PA 1994 Eastlake Gallery, New York, NY Hahnemann Hospital, Philadelphia, PA 1993 Carspecken Scott Gallery, Wilmington, DE Kidder Peabody, New York, NY 1978- Eastlake Gallery, New York, NY Lexington Partners, New York, NY 1992 Annual shows, Locks Gallery, Philadelphia, PA Merrill Lynch, Princeton, NJ

Collections (suite) Collections (continued)

Museum of Pennsylvania, Harrisburg, PA 2001 A Selected Exhibition, The Week, December Price Waterhouse, Washington DC Provident Mutual Life Insurance, Philadelphia, PA 1996 Sosanski, Edward, The Philadelphia Enquirer, May 17 RCA Corporation, Cherry Hill, NJ Smith Kline, Philadelphia, PA 1994 Gardner, James, The New York Review of Art, February Subaru, Cherry Hill, NJ University of Minnesota, Minneapolis, MN 1993 Meyers, Susan, The Kennett Paper, October 28 – November 3 Woodmere Art Museum, Bryn Mawr, PA 1992 Sosanski, Edward, The Philadelphia Enquirer, May 17 Publications et critiques Publications and Reviews 1990 Stern, Fred, Letters from America, Mizue, Spring

2011 Baker, Kenneth, Fertig at Thiebaud: His Aim a 1989 Grove, Nancy, Not So Simple, Art and Antiques, December Mystery or History ? San Francisco Chronicle, May 7 LeClair, James, Painting the Still Life, Watson-Guptill Publications 1985 Scott, Bill, American Artist, November 2007 Scott, Bill, David Fertig at James Graham & Sons, Art in America, April 1984 Leonard, Elizabeth, Painting the Landscape Watson-Guptill Publications

2006 Smoler, Frederic, Combat Artist

American Heritage, November/December

2005 David Fertig, James Graham & Sons (exhibition catalog) ISBN: 978-2-923814-31-5 Dépôt légal – Bibliotèque et Archives nationals du Québec 2012 2003 Naves, Mario, Painting that’s Alive Today… Dépôt légal – Bibliotèque nationale du Canada, 2012 The New York Observer, November 3 Texte / Text: Jay Grimm 2002 Brown, Gerard, Argh! The Cruel Sea, Traduction/ Translation: Bérengère du Guernon Philadelphia Weekly Conception / Design: Vincent Perier Publiè par / Published by· GALERIE D E BELLEFEUILLE Prisant, Carol, The Devil and Ms. W Impression / Printer: Transcontinental The World of Interiors, August Printed to accompany the exhibition 2001 Golonu, Berin, Previews, Artweek, October “David Fertig”, May 5 – 15, 2012

lmprimé au Canada i Printed in Canada