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1-21-1983 Realist Watercolors The iV sual Arts Gallery at Florida International University Frost Art Museum The Patricia and Phillip Frost Art Museum

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REALIST WATERCOLORS Fairfield Porter "Rocks and Shore Growth 1975, 22 X 29" Elizabeth Osborne Autumn Still Life, 1981

Real ist Watercolors

A national exhibition organized and with an introduction by: Dahlia Morgan and an essay by Gerrit Henry Jan. 21 - Feb. 25, 1983 The Visual Arts Gallery Florida International University - Tamiami Campus Artists in the Exhibition

Leigh Behnke Nell Blaine Carolyn Brady Sondra Freckelton Richard Haas George Harkins John Stuart Ingle John Moore Don Nice EI izabeth Osborne Philip Pearlstein Fairfield Porter Joseph Raffael Susan Shatter Neil Welliver Acknowledgements:

"Realist Watercolors" was organized for the Visual Arts Gallery at Florida International University, Miami, Florida.1t was conceived in response to the resurgence of interest in generally and the particular emergence of watercolor as a primary mode of that expression. My sincere gratitude goes to all the lenders who generously parted with thei r watercolors for this exhibition: Mrs. Susanna Borghese, Mr. Charles Marx Sr., Mr. Wilson Nolen, Dr. and Mrs. Robert E. Carroll, The Reader's Digest Magazine, Amarada-Hess Corporation, Brooke Alexander Gallery, Fischbach Gallery, Allan Frumkin Gallery, Hirschi and Adler Gallery, Nancy Hoffman Gallery, Tatistcheff, Inc., and the Xavier Fourcade Gallery. I am pleased to have had the opportunity to organize this' exhibition. My interest in water­ colors was stimulated by my husband, Andrew Morgan, whose continued patience and help was invaluable. The task would not have been possible without the support of the students and staff of the gallery, especially Mr. William Humphreys for his continuing interest and care in all aspects of the organization, and Mrs. Wynne Leavitt who pursued her registrarial tasks with effi­ ciency and constant good humor. This exhibition forms part of the Second Decade celebration at Florida International I am to Presi­ University .. particularly grateful dent Gregory Wolfe and the Administration for thei r efforts in maki ng Florida I nterna­ tional University a major center for the arts in the Southeast. Funding assistance from the Student Govern­ ment Association helped make this exhibi­ tion a reality, and finally a special thanks to Secretary of State George Firestone, the Department of State, the Division of Cultural Affairs, the Fine Arts Council and the Legislature for their continued confidence in our exhibition choices and their funding commitment. Dahlia Morgan Di rector of Galleries Neil Welliver Deer, 1979 Introduction

were late rem­ The history of in the 19th Century is to where it might almost have been con­ and decorative formulas that particularly illuminating because of the ex­ sidered subversive. During the 60's, the nants of abstract painting. This new figura­ tensive employment of transparent water­ device of watercolor disappeared from art tion was not a revival of nineteenth century of color by major figures, from J.M.W. Turner at school curricula, from Art News, from form and content. It came directly out the the beginning of the century, to Winslow museum exhibitions and book production. late stages of , particularly Homer at its conclusion. At the turn of the One had to turn to The American Artist, a , and is clearly seen in Area century the recognized father of modern magazine largely patronized by commercial in its earliest stages the Bay paint­ was one of the most painting, Paul Cezanne, was a master of this illustrators with its endless sand dune/art fair ings. Fairfield Porter medium. In fact his experience with water­ art, to find any examples of the existence of poignant and transitional figures. He was a and color transformed both the appl ication and watercolor. Neo-, with it's art-life major influence on this return to nature of conception of oil painting. Tone grounds merger, introduced three dimensional chunks an important catalyst in the revival disappeared and the structure of the painting of reality with which watercolor could hardly watercolor. became more visible. I would venture to say co-exist. A spectrum of new movements, I believe it is important to recognize another that Cezanne's with watercolor, including Photo-realism, Environmental Art, experience factor: Feminism and Feminist Art Art of it emerged more than any other visual fact, anticipated I nstallations and Decorative (much in the 70's, it is not coincidental that many the development of . three dimensional in character), drew more of the finest painters in America today are on literal and multi-impact phenomena which After With the of the Bauhaus women. A surprisingly large number work in 1920, input left no call for the lyrical "suspension of watercolor. like Susan Shatter, work and the development of late modern painting, disbelief" that characterizes watercolor. In­ Some, watercolor became more and less almost in that medium. It may be sporadic deed it was an approach that was too subtle, exclusively issues of the that women, traditionally excluded from the central to the painting. Perhaps even too modest, to compete with perhaps with the elements of more than "art world", were actively engaged automatism, anything the super hype movements following the use and real world: flowers, food, domestic interiors else, led to the increasing of layers decline of Abstract Expressionism. Needless altered surfaces. The surfaces and children became important subject mat­ transparent to say, acrylic, the miracle medium of color were less ter that called for immediacy. The reactiva­ and paper ground of watercolor field painting, left watercolor with a label this in tion of the conscious eye in contact with suitable. Nevertheless, during period that suggested a kind of academic obsoles­ United between 1920 and nature all of these artists a new sense the States, 1940, cence. Paper was hardly a suitable support gave were of about man's relationship to his some of our finest watercolorists for the heroic sized canvases of Pollock or urgency and environment. Contemporary realism required thriving--Marin, Demuth, Hopper the flat-bed mountings of Rauschenberg. and climactic a new engagement with the physical world. Burchfield. As the late stages Alas, watercolor painting was regarded as and The art of spontaneous sketching naturally of modernism developed between 1930 distasteful, dreadful and dead. of 1950, watercolor was distinctly on the followed this rebirth representational pain­ decline, Even the American social realists A revival of watercolor in the late seventies ting and with that, the rediscovery of found it too ephemeral and subtle. Certainly seemed even less likely than the re­ watercolor. Dahlia that was the case with the Mexican emergence of figurative painting. But another Morgan muralists. Abstract painting with its layered cycle of aesthetic taste had run its course. Dahlia Morgan is an She opacity and cutting, scraping and pouring Pluralism spawned doubt and that doubt Art Historian. teaches Modern and had little or no use for transparent water­ helped revive perception. Rebels and cast Art at color. By definition, transparent watercolor ofts, largely second generation Abstract Contemporary Florida International is a staining process that quick dries and Expressionists such as Neil Welliver, Philip reveals the underlying bones of the drawing. Pearlstein, , (to University. What was an ideal sketching material for the name just a few) from the East, and Parks representational painter offered little to the and Diebenkorn from the San Francisco Bay Jungian expressionist who was dredging up Area, revived the tradition of painterly automatic marks and planes from his realism. As early as the late 60's Mercedes subconcious. Matter, whose father was the founder of the Association of Abstract Artists, founded the The era of Post- beginning in the New York Studio School as a haven for art of watercolor late 50's reduced the presence students who were fed-up with the vacuity Malcolm Morley Nuns in Battery Park, 1980 Essay

nst Reality--or at least our perception of it in art-­ all--in this half of the century, anyway--was canyons and mou ntai ns or the sea agai for his rocks. Harkins' have the feel of has changed drastically over the past 2,000 Fairfield Porter. Although best known of children's book years. No longer do we build heaven-tending large oils of Southampton and environs, highly sophisticated almost to see the cathedrals whose towers pierce the sky; no family and friends, Porter brought his lyrical, illustrations--you expect on more little in his rocks and moss longer do angels hover over landscapes, nor acutely painterly style to watercolor people among the and water in the dark of color is Venus to be seen rising from the sea. than one occasion, with results like grasses, tangle Shatter's work is more Shepherds and Shepherdesses do not, in magnificent Sun and Sea, in which a cloudy and light. strongly Abstract in its today's art, cavort in Arcadian pastures; we white sun glowers over rows of yellow influenced by Expressionism Porter's is a land­ all-over effects and of stroke. Both have no David to heroicize history, no clouds and purple dunes. urgency amount of Chardin to limn the holiness of the humble. scape stripped of all symbolism; the act of artists go in for a certain glam­ color and of the better to show its In today's reality, what you see--and this representing reality, in brushstroke, orizing reality, up or aerial-view vastness. could be the motto for many a Photo-Real ist-­ is meaningful enough in itself, especially close-up is what We live in a world since Porter was painting in the heyday of you get. Don N ice produces landscapes with a twist-­ desacralized by science and technology, and Abstract Expressionism and, later, Pop and California scenery is shown in all its glory in thus in a world almost utterly devoid of Minimal art. the upper portions of his paintings, while meaning. Both Nell Blaine and Neil Welliver would pop artifacts such as a sneaker, a popcorn sun a bottle form a frieze As always, though, in the 20th century, it's seem to have learned a lot from Porter's bag, and coke along - to their and the bottom. A is set ou r artists to the rescue. Where once the and skyswept abandon, own, mysterious equation up in land­ between the and the world was turned away from, with an almost the viewer's, benefit. But Blaine, landscapes artifacts; see lit­ Calvinist horror--witness Minimal and, more scapes like Towards Au, with its frolicsome, this is just the stuff you'd expect to is a far more the but here it enshrined, importantly, a totally hermetic Conceptual purple-mountained majesty, tering roadways, is, for art--growing numbers of artists have been improvisatory painter than Porter, one who along with America's grandeur, posterity. renewed and value in the employs short staccato movements of the finding meaning Raffael is one of the most arresti ng delineate her concerns. Joseph world around us, what might be called the brush to painterly of contemporary Realists. He merges all-over in nature, the spirit in matter. Welliver, with his Deer in the Maine Woods, supernatural coloristic formats with scenes of lily-pad This New Realism has been upon us for strikes a luscious balance between an or in their natural and covered pools carp habitat, almost a decade now; one of its latest tacks almost illustrational representation the resulting admixture of representation and in reclaiming the world for art is the employ­ freedom of brushstroke, catching his deer abstraction going to make up a powerful ment of watercolor. The medium comes and surroundings in dappled greens and visual experience. In A Secret Path, fish un­ to the Realist its' that never cross the line between naturally perceiving eye; grays dulate underwater reaches, sentiment and through aqueous qualities range from delicate to hearty, from aesthetic sentimentality. a picture that is a kind of pun on the very to and is informed by precisionist expressive, and a one. Malcolm is best known for nature of watercolor, gorgeous a great American watercolor tradition, as Morley perhaps Marin and to his Photo-Realist canvases, but his water­ evidenced by Homer, Demuth, In their back to of this show evidence a turning things world, is a new of colors in this striking name a few. If there spirit Realists have not from conventions. Two contemporary by any abroad in the what better vehi­ liberty photographic Realism land, means overlooked the area of still life. Nell Park are rather cle of for it than the new/old Nuns in Battery suggested, expression Blaine marks the way with Daisies and medium of watercolor? To the point we than delineated; the painting style--high­ prove Gezenies, painterly to a fault, and lively, which artists of keyed, virtuoso gestures--is quintessentially have this exhibition, in But and even a little almost, beyond expression. younger sensibilities all are seen to be adept, rigorously animated, greatly varying artists, too, have claimed the mode. John and able to those sensibilities funny. willing adapt Moore favors what can only be termed to the medium. The watercolor medium alone Susan Shatter and George Harkins would metaphysical still life: in Newell Vase (8th but it carries a hint may not be the message, the vase is surrounded seem to have something in common--both of Position), by glazed­ of new possibilities for painting, and a new, them view landscape in all its variety, white creamers and candlesticks, all of this more subtle relationship between artist and Harkins close-up, in Woodland Glades, on raw wood, all of it of a high, almost viewer. is Shatter from an aerial position, focusing on mystical, significance. Leigh Behnke, too, interested in the of the mun- The man who can be said to have started it the abstract patterns of southwestern metaphysics John Stuart Ingle Still Life with Cut Crystal Bowl Joseph Raffael A Secret Path 1980 .dane; in her Study for Time Sequence: Value, Pearlstein is interested in presenting a Temperature and Light Variations, a dining vigorous topography of flesh, revealing that room table set for dinner is seen at two dif­ flesh as weak, vulnerable, and resoundingly ferent "moments," with the alterations in human. light and color bespeaking some matter of Finaly, we have a relative maverick: Richard grave importance that Behnke does not Hass with two architectural a reveal. caprices, panoramic view of New York from Elizabeth Osborne is also a still life painter, Weehawken, and the facade of Miami's with something of a purchase on the Berkeley Hotel, both evidence of Haas' metaphysical mode as well. In her Hibiscus status as high-art tour guide to urban sights. series, flowers of red, orange, and yellow are Indeed, the Berkeley never had it so good as painted with other-worldly luminosity. Nature in Haas' loving hands, nor has the skyline is further abstracted in Autumn Still Life, ever looked so legendary. with flame colored leaves in a pitcher and a Here are, then, 16 masters of watercolor seascape out the window behind. In they in the Realist style. While it would be stret­ Osborne's work, forms are abstracted to just a to that constitute the right degree of obscurity; her watercolors ching point say they like a school, they are evidence that are secretive but inviting, and always anything growing numbers of artists are turning to specific as to the moods they mean to watercolor as an end in rather than as evoke. itself, a means for studies and sketches. All are John Stewart Ingle is a young still like technically excellent; perhaps more impor­ painter who bears watching. Eschewing the tantly, all are concerned with finding new metaphysical mode, Ingle's is a precisionist ways to perceive that elusive condition we Realism that, as in the superhandsome Still call the real. There is no longer much sym­ Life with Cut Crystal Bowl, almost trumps bolism, "disguised" or otherwise, in land­ of a the eye. Ingle's technique is remarkable; it scape or still life, but there is meaning, approaches oil in the precision of its detail very c.ontemporary sort-the very act or and finds a rich reality in the presence of the representationalism is, in a modernist cen­ accoutrements of "the good life". tury given over largely to the abstract and the pure, a brave one. We have visibly moved Sondra Freckleton and Carolyn Brady seek, beyond Photo-Realism and getting only what too, that good life, if on a more modest you see. The world is once again open to scale. In Brady's work huge splashes of consideration, perhaps even interpretation. sunlight fall over a fishbowl, or plants lux­ Gerrit Henry uriate at a window near a wicker rocker. Poet, critic, senior Freckleton's Cut Flowers have some of the editor of the Print quality of Dutch still life, the homeliness of Collector's Newsletter colonial-style chair against patchwork quilt and author of offsetting the sheer effluence of peonies and "Painterly Realism & daisies in a pitcher. the Modern Land­ scape" Art in America, Much of the good new work being done by Sept. '81 contemporary Realists involves the human form, and Philip Pearlstein's watercolor nudes explore light and tone and color, all as they apply to the nude female body in the unnatural setting of the studio. As always, Philip Pearlstein Two Models with Drawing Table, 1979 Richard Haas Berkeley Hotel, Miami, 1980 Sondra Freckelton Cabbage and Tomatoes, 1981 Susan Shatter Round Rock. 1982 Gathering, 1982 George Harki ns September Behnke Leigh Four Variations with Visible Light Source, 1979 Pier 1975 Nell Blaine Three Boats at II, Catalogue of the Exhibition

(All dimensions are in inches , height precedes width.)

Leigh Behnke Berkeley Hotel, Miami, 1980 Gallery Watercolor on paper, Four Variations with Visible Watercolor on paper, Beach, 1976 30 X 22 1/2 1979 22 1/2 X 24 1/4 Lent Hirschi & Adler Light Source, Watercolor on paper, by Watercolor on paper, Lent by Brooke Alexander 19 1/2 X 25 3/8 Galleries 46 1/2 X 57 Gallery Lent by Xavier Fourcade The Pear Tree Autumn, 1972 Lent by Fischbach Gallery West Fortieth Street, 1976 Gallery Watercolor on paper, 16 X 22 Study for Time Sequence; Watercolor on paper, Lent by Hirschi & Adler Value, Temperature and Light 31 1/4 X 22 Don Nice Galleries BK II/IPP XX 1980 (CALIFORNIA)' Variations, Lent by Amerada-Hess Apple Branch, 1973 Watercolor on 21 X 30 1982 paper, Corporation Watercolor on paper, 20 X 25 Watercolor on paper, 60 X 40 Lent by Fischbach Gallery Lent Reader's Harkins Lent Hoffman by Digest George by Nancy Gallery Association Nell Blaine Brookside 1982 BK II/IPP XIX Reflections, (CALIFORNIA)' Three Boats at Pier II, 1975 Watercolor on paper, 40 X 60 1982 Joseph Raffael Watercolor on 12 X 16 Lent Tatistchef & Co. paper, by Watercolor on paper, 60 X 40 A Secret Path, 1980 Lent Fischbach by Gallery September Gathering, 1982 Lent by Nancy Hoffman Gallery Watercolor with pastel on Towar(js Au, 1978 Watercolor on paper, 40 X 60 paper, 53 1/2 X 43 1/2 Elizabeth Osborne Watercolor on paper, Lent by Tatistcheff & Co. Lent by Nancy Hoffman Gallery 30 114 X Autumn Still Life, 1981 39 Renascence, 1980 Lent Fischbach John Stuart Ingle Watercolor on paper, by Gallery Watercolor with on Still with 37 1/2 X 50 pastel Life Cut Crystal Bowl' Daisies and Gazanias by 42 X 51 3/4 1980 Lent by Fischbach Gallery paper, Window I, 1979 Lent by Nancy Hoffman Gallery Watercolor on paper, 60 X 40 Hibiscus 1982 Watercolor on paper, 16 X 12 (Bermuda I), Lent by Tatistcheff & Co. on Lent by Fischbach Gallery Watercolor paper, Susan Shatter 19 X 15 3/4 Round 1982 John Moore Rock, Lent Fischbach Watercolor on 15 X 20 Carolyn Brady Newell Vase by Gallery paper, White Wicker 1977 (8th Position)' Chair, Hibiscus 1982 Lent by General Electric 1980 . (Bermuda II), Watercolor on paper, on Art Watercolor on Watercolor paper, Corporation Program 44 X 35 1/2 paper, 22 1/2 X 30 19 X 15 3/4 Blue Rock, 1982 Lent by Nancy Hoffman Gallery Lent by Hirschi & Adler Gallery Lent by Fischbach Gallery Watercolor on paper, 45 X 72 and 1976 Lent Fischbach Sunspots Fishbowl, Vase by Gallery Newell (5th Position)' Watercolor on paper, 25 X 30 Pearlstein 1980 Phillip Lent by Nancy Hoffman Gallery Two Female Models with Neil Welliver Watercolor on paper, for Trout and Reflection Drawing Table, 1979 Study ' Sondra Freckelton 22 112 X 30 1979 Watercolor on paper, 40 X 59 and 1981 Lent by Hlrschl & Adler Gallery Cabbage Tomatoes, Lent by Allan Frumkin Gallery Watercolor on paper, Watercolor on paper, 36 X 33 1980 22 1/4 X 30 Nightlight (6th Order), Two Female Models with Lent by Mrs. Susanna Borghese Watercolor on paper, Lent anonymously . Victorian Rocker, 1982 Cut 1979 22 112 X 30 1979 Flowers, Watercolor on paper, 60 X 40 Deer, Watercolor on Lent by Hirschi & Adler Gallery Watercolor on paper, Lent by Allan Frumkin Gallery paper, 44 1/4 X 45 22 1/4 X 25 3/4 Malcolm Lent by Brooke Alexander Morley Lent Brooke Alexander Nuns in Battery Park, 1980 Fairfield Porter by Gallery Rocks and Shore 1975 Watercolor on paper, Growth, Gallery Watercolor on 22 X 29 Richard Haas 23 X 30 114 paper, Lent Mr. Wilson Nolen View from Lent Xavier Fourcade by Heights' by 1979 Gallery Rock on the Shore, 1975 Watercolor on 16 X 22 Watercolor on paper, Green Fish, 1980 paper, Lent Dr. & Mrs. Robert E. 19 3/4 X 64 1/2 Watercolor on paper, by Lent by Marx Realty and 26 3/4 X 30 3/4 Carroll Improvement Co., Inc. Lent by Xavier Fourcade Sun and Sea, 1974 Carolyn Brady White Wicker Chair Biographies

Leigh Behnke Education: School Born: Hartford, Conn., 1946 Selected Exhibitions: B.F.A.: , Brooklyn 1982 "Still Lives," Art Service, Museum of Modern M.A.: New York Lending Art, University N.Y. Selected Exhibitions: 1981 One-Person Exhibition, Brooke Alexander Gallery, N.Y. 1982 One Woman Fischbach New Exhibition, York. 1981 "Realism Pa . Gallery, . Today," Academy, 1982 "Lower From Street to Sky," Whitney Museum of 1980 One-Person Exhibition, Fendrick Gallery, Wash., D.C. American Art, Downtown Branch, New York. 1980 One-Person Exhibition, Brooke Alexander Gallery, N.Y. 1981 One Woman Exhibition, Thomas Segal Gallery, Boston. 1980 "Watercolor U.S.A. 1980," Springfield Art Center, Springfield, 1981 "A Feast for the Eyes," Hecksher Museum, Long Island, N.Y. Mo. 1980 "The Watercolor Still Life," Barbara Gladstone Gallery, N.Y.

Richard Haas Nell Blaine Born: Spring Green, Wisconsin, 1936 Born: Richmond, Virginia, 1922 B.A.: University of Wisconsin Studied at Richmond School of Art. M.F.A.: University of Minnesota Studied with , 1942-44. 1978-present: Vice Pres. the Architectural league of New York. Guggenheim Memorial Fellowship, 1974. Selected Exhibitions: National Endowment for the Arts 1975. Grant, 1982 One-Person Exhibition, Brooke Alexander Gallery, N.Y. Selected Exhibitions: 1982 "Lower Manhattan from Street to Sky," Whitney Museum of 1982 "Still Lifellnteriors," Contemporary; Arts Ctr., New Orleans, American Art Downtown, New York. La. 1979-81 "Reality of Illusion,"Denver Art Museum, traveling 1981 One Woman Exhibition, Fischbach Gallery, New York. nationally. 1981 One Woman Exhibition, Jersey City Museum, N.J. 1981 One-Person Exhibition, Young-Hoffman Gallery, Chicago. 1979 One Woman Exhibition, Virginia Museum of Fine Arts, 1977 "Richard Haas: Retrospective," Norton Gallery of Art, West Richmond. Palm Beach, Fla. 1979 One Woman Exhibition, Fishbach Gallery, New York.

George Harkins Carolyn Brady Born: Philadelphia, Penna., 1934 Born: .Chickasha, Oklahoma, 1937 B.F.A.: Philadelphia College of Art B.F.A.: University of Oklahoma M.F.A.: University of Arizona M.F.A.: University of Oklahoma Selected Exhibitions: Selected Exhibitions: 1982 One-Person Exhibition, Tatistcheff & Co., New York. 1981-83 "Contemporary American Realism Since 1960," Penn­ 1980 One-Person Exhibition, Tatistcheff & Co., New York. sylvania Academy of the Fine Arts, traveling nationally. 1978 "Five Realists,"Automation House, New York. 1981-82 "Real, Really Real, & Super Real," San Antonio Museum 1978 "American Watercolor SOCiety Annual," New York. of Art, Texas, traveling nationally. 1976 Group Show, Montgomery Museum of Fine Arts, Alabama. 1981 One-Woman Exhibition, Thomas Segal Gallery, Boston, Mass. 1981 One-Woman Exhibition, Mint Museum, Charlotte, N.C. 1980 One-Woman Exhibition, Art Center, Pittsburgh, Pa. 1980 One-Woman Exhibition, Nancy Hoffman Gallery, New York, John Stuart Ingle N.Y. Born: Evansville, Indiana, 1933 B.F.A.: University of Arizona M.F.A.: University of Arizona Selected Exhibitions: Sondra Freckelton 1981 One-Person Exhibition, Tatistcheff & Co., New York. Born: Dearborn, Michigan, 1936 1981-83 "Contemporary Realism Since 1960," Pennsylvania --

Don Nice BK III/PP XIX (California), 1982 Academy of Art, traveling worldwide. 1980 "Group Show," Minnesota Museum of Art, Saint Paul, Minn. 1980 "Watercolor 1980," Frumkin-Struve Gallery, Chicago. 1979 One-Person Exhibition, Thomas Segal Gallery, Boston, Mass. 1980 "Ten Realist Views," Rutgers University Gallery, Newark, New Jersey.

Elizabeth Osborne Born: Philadelphia, Penn., 1936 John Moore B.F.A.: University of Pennsylvania Born: St. Louis, Missouri, 1941 Fulbright Scholarship, Paris, 1963 B.F.A.: Washington University, St. Louis Selected Exhibitions: M.F.A.: , New Haven, Conn. 1982 One-Person Exhibition, Fischbach Gallery, New York. Selected Exhibitions: 1982 "Collector's Gallery XVI," McNay Art Institute, San Antonio, 1981 One-Person Exhibition, Capricorn Gallery, Wash., D.C. Texas. 1981 "Real, Really Real, Super Real," San Antonio Museum of Art, 1981 "Contemporary American Realism Since 1960," Pennsylvania traveling nationally. Academy of Fine Arts, Philadelphia. 1980 One-Person Exhibition, Fischbach Gallery, N.Y. 1980 One-Person Exhibition, Fischbach Gallery, N.Y. 1980 "Contemporary Naturalism," Nassau County Museum of Art, 1978 One-Person Exhibition, Marion Locks Gallery, Philadelphia. New York. 1979 One-Person Exhibition, Marion Locks Gallery, Philadelphia, Pa. Philip Pearlstein Born: PittsburQh, Penna, 1924 B.F.A.: Carnegie Institute of Technology M.F.A.: Malcom Morley Teaching: Pratt Institute, 1959-63, currently Professor of Art, Born: London, England, 1931 . of of London A.R.C.A.: Associate the Royal College Art, Selected One-Man Exhibitions: M.F.A.: Yale School of Art & Architecture 1981 Ringling Museum, Sarasota, Fla. Selected Exhibitions: 1980 Allan Frumkin Gallery, New York. 1982 "Zeitgeist," Internationale Kunstausstetlunq, Berlin. 1979 Galerie Jollenbeck, Cologne, Germany. 1982 One-Person Exhibition, Xavier Fourcade Gallery, N.Y. 1978-79 "The Lithographs & Etchings of Philip Pearlstein," 1981 "A Penthouse Aviary," The , N.Y. traveled nationally. 1981 One-Person Exhibition, Akron Art Museum, Akron, Ohio. 1962 Kansas City Art Institute, Missouri. 1981 One-Person Exhibition, Xavier Fourcade Gallery, N.Y. 1980 Matrix: Wadsworth Atheneum, Hartford, Conn.

Fairfield Porter Born: Winetka, Illinois, 1907 B.S.: Harvard Don Nice University Born: Visalia, California, 1932 Selected One-Man Exhibitions: B.F.A.: University of Southern California 1971 Parrish Art Museum, Southampton, L.I., New York. M.F.A.: Yale University, New Haven, Conn. 1966 Cleveland Museum of Fine Arts (Retrospective), Cleveland, Teaching Experience: 1964-66 Dean, , N.Y. Ohio. Selected Exhibitions: 1982 "Contemporary American Realism Since 1960," Pennsylvania Academy of Fine Arts, traveling nationally. 1981 One-Person Exhibition, Nancy Hoffman Gallery, N.Y. Joseph Raffael 1981 "American Watercolorists," Bucknell University, Center Born: Brooklyn, New York, 1933 Gallery, Lewisburg, Pa. B.F.A.: Yale School of Fine Arts 1980 One-Person Exhibition, Gallery Moos, Toronto, Canada. 1958-9 Fulbright Fellowship to Florence & Rome Selected One-Man Exhibitions: 1982 John Berggruen Gallery, San Francisco. 1982 The Jacksonville Museum, Jacksonville. 1982 Nancy Hoffman Gallery, New York. 1981 Jorgensen Gallery, University of Conn., traveling nationally. 1980 Nancy Hoffman Gallery, New York.

Susan Shatter Born: New York, 1933 B. F .A.: Pratt Institute M.F.A.: Boston University National Endowment of the Arts Grant, 1980 Selected Exhibitions: 1982 One-Person Exhibition, Fischbach Gallery, New York. 1981-82 "Contemporary American Realism Since 1960," The Pennsylvania Academy of Fine Arts, Philadelphia. 1981 One-Person Exhibition, Mattingly Baker Gallery, Boston. 1980 One-Person Exhibition, Fischbach Gallery, New York. 1979 One-Person Exhibition, Harcus Krakow Gallery, Boston. 1979 "New-York, Now," Phoenix Art Museum, Arizona.

Neil Welliver Born: Milville, Penn., 1929 B.F.A.: Philadelphia Museum, College of Art, Pa. M.F.A.: Yale University Selected Exhibitions: 1981-2 "Neil Welliver Paintings, 1966-1980," traveling nationally. 1981 "Neil Welliver/President's Choice," Visual Arts Gallery, Florida International University, Miami. 1981 One-Person Exhibition, Fischbach Gallery, New York. 1981 "Real, Really Real, Super Real," The San Antonio Museum, Texas, traveling nationally. 1980 "Realism/," Philbrook Art Center, Tulsa, Ok. 1978 One-Person Exhibition, Brooke Alexander Gallery, N.Y. John Moore Nightlight (6th Order), 1980

Exhibition Design & Installation William B. Humphreys, Curator, Visual Arts Gallery. FlU Catalogue Design Terry Cwikla, Publications Department, FlU Typesetting Linda C. Brophy, Typesetting Center, FlU Printing Continental Graphics Color Separations GraphTec

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