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Edward T. Pollack Fine Arts' Exhibition at Davis THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY ANTIQUES AND THE ARTS WEEKLY ț 5 CHURCH HILL RD ț BOX 5503 ț NEWTOWN, CONNECTICUT, 06470 ț SPRING 2016 2 - THE GALLERY May 6, 2016 — Antiques and The Arts Weekly THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY R. Scudder Smith, Executive Publisher & Editor Carol Sims, Gallery Editor Tel.203-426-8036 or 426-3141 or Fax: 203-426-1394 www.AntiquesandTheArts.com email - [email protected] Published by The Bee Publishing Company, THE GALLERY • THE GALLERY • THE GALLERY • THE GALLERY Box 5503, Newtown Connecticut 06470 Artists Transcending The Decades Lawrence Fine Art To Present ‘Works in Progress: Five Artists In Their 80s And 90s’ Summer 2016 EAST HAMPTON, N.Y. — Lawrence Fine known for his landscapes composed in a Art will celebrate work by four artists in their loose abstracted style. Artistic style and interi- 90s and one in her 80s in a series of presenta- or life go hand-in-hand: his are not action tions and exhibitions over the course of the paintings but, often, explorations of his mood summer. The artists are: Stan Brodsky, 91; at any given time or over the course of time. Paul Resika, 89; Knox Martin, 92; Athos Brodsky’s last retrospective was at the Heck- Zacharias, 90; and Harriette Joffe, 82. sher Museum in 2013. In addition to the Gallery director Howard Shapiro explained Hecksher, his work may be found in the col- the genesis of the series this way: “The art lections of Guild Hall, East Hampton; the market is so hyper-contemporary today, and Parrish Museum; the Baltimore Museum of people tend to equate contemporary with Fine Art; the Neuberger Museum; the Farn- young. These artists have been creating works sworth; and many others. of superb excellence for decades — and con- The gallery will next offer “Paul Resika: tinue to do so. If you haven’t heard of them Boats and Sails.” Resika first studied in Prov- before, you should definitely get to know incetown with the legendary Hans them now. They remain completely rele- Hofmann. “As a colorist — a painter who vant.” draws in color with a loaded brush — (Resi- The gallery will open its summer season ka) is now without peer in his own genera- with “Stan Brodsky at 91” over Memorial tion, a generation that has often made color Day Weekend. Brodsky is considered to be its most important pictorial interest,” Hilton Long Island’s greatest living artist. Brodsky is Kramer stated in The New York Times. His latest work has taken on a hard-edge, geomet- ric quality. Paul Resika, “Green Wave and Pier,” 1991, oil on canvas, 30 by 40 inches. Image Resika has had solo exhibitions at the Hop- courtesy of Lori Bookstein Fine Art. kins Center at Dartmouth College; Graham Modern Gallery, Joan Washburn Gallery, yupo paper, a combination which gives the of Martin: “You are my mentor. For years, I Century Association, Artists Choice Muse- paintings an evanescent feel. always asked, what would Knox think of my um, Lori Bookstein, and Salander-O’Reilly Finally, the gallery will present work by painting?” He continues to teach master’s Galleries in New York City; Hackett-Freed- Athos Zacharias and Knox Martin. “Zach” as classes at the Art Students League as he has man Gallery in San Francisco; Lizan Tops in Zacharias is called is a Hamptons legend. He done for more than 40 years. East Hampton, N.Y.; Long Point Gallery, was DeKooning’s very first gallery assistant in Martin has been known throughout his Provincetown Art Association and Museum; 1957 and worked for Elaine DeKooning, Lee career for his treatment of the female form, and Berta Walker Gallery in Provincetown. Krasner and Alfonso Ossorio. A half-genera- often incorporating elements of cubism and He has received numerous grants and awards, tion younger than these artists, nevertheless, pop in a flat pictorial space. including a Guggenheim Fellowship and DeKooning called him “One of us.” A member of the National Academy, Mar- election to the National Academy of Design. Knox Martin was discovered by DeKoon- tin is the recipient of several Pollack-Krasner Next up will be “Works on Paper” by ing in the early 1950s, lauded by the critic Foundation Grants. His work is in the collec- Harriette Joffe. This will be Joffe’s third solo Meyer Schapiro and given his first solo in his tion of the Baltimore Museum, the Brooklyn show at the gallery. She came to the Hamp- early 20s at the legendary Charles Egan Gal- Museum, the Corcoran, the Hirshhorn, the tons as a young woman in the 1960s and was lery. Museum of Modern Art and the Whitney, befriended by all the greats of the first genera- Knox Martin is a towering figure in the among others. Athos Zacharias, “Splat,” 1997, oil on tion of abstract expressionism, including world of American contemporary art. Martin Lawrence Fine Art is at 37 Newtown paper, 17 by 13¾ inches, oil on paper. DeKooning, John Little, Ibram Lassow and is known both as a great artist and as a teach- Lane. For information, www.lawrence- Image courtesy of Lawrence Fine Art. Philip Pavia. Her new work is watercolor on er of great artists. Robert Rauschenberg wrote fine-arts.com. Love Your Collection, But Dread Having To Cover It? You’ve worked hard to build a collection that reflects your tastes, unique interests and uncompromising standards. Now let us work hard protecting it. Flather & Perkins is recognized as the premier broker for insuring collections as fine as yours because of our in-depth knowledge and experience in this highly specialized field. And we provide this expertise and personal service at surprisingly competitive rates. To inquire about our highly personalized programs for fine homes and collections, please call Flather & Perkins at (202) 466-8888 or (800) 422-8889. FLATHER & PERKINS, INC. Insuring fine homes and prized possessions since 1917 888 17th Street, NW Washington, DC 20006 (202) 466-8888 • (800) 422-8889 • [email protected] • www.flatherperkins.com Antiques and The Arts Weekly — May 6, 2016 THE GALLERY — 3 4 - THE GALLERY May 6, 2016 — Antiques and The Arts Weekly Ron Stewart And His Monumental Paintings FAIRFAX, VA. — Private dealer Dennis Brining of Watering them in the morning light, they are recount- CulturalPatina has been acquiring western art from ing their prowess at stealing fine ponies and upping listed artist Ron Stewart since the 1960s and has nearly their status among the tribe. Most stolen ponies were 100 of Stewart’s paintings and sculptures in his exten- distributed among tribal members to further enhance sive collection. Included are examples of Stewart’s earli- their place in the tribe. The figures and horses were est pieces as well as some of his most recent work, from the artist shoot in South Dakota, and the figures including six of Stewart’s largest oil paintings. adapted from Sioux Indians that modeled for me there. The allure of the West is especially palpable in Stew- (Blackfoot and Sioux were enemies so did not tell them art’s “In the Morning Glow,” 2014, 32 by 40 inches, at the time that they would be Blackfoot!) Teepees are which depicts a glorious dawn slipping over an Indian from my reference from the Black Powder Rendezvous village. from Montana and Wyoming back in the 70s.” “This extraordinary oil painting speaks volumes of Another remarkable Stewart painting is “Apache what a Nineteenth Century Indian camp may have Raiders,” 2014, 40 by 60 inches. been like in the wee hours of the morning. It has a “The scene is highly dynamic and feels like the horses glow from the teepees that radiate and seems to pull you are coming out of the painting right into the viewer. into the scene,” said Brining, who holds the painting as The detail on Ron’s horses is fantastic, and you can one of Stewart’s finest. almost feel the water splash on you,” said Brining. Ron Stewart stated, “‘In The Morning Glow’ is a The artist had the following to say about the piece: Blackfoot Village with braves who have returned with “This is one of my all-time personal favorite paintings. stolen ponies from a raid against the Crow Indians. I love painting horses in action. ‘Apache Raiders’ was Ron Stewart, “In the Morning Glow,” 2014, oil on done for me! The Apaches had canvas, 32 by 40 inches, framed 47 by 55 inches. always raided the homesteads and stolen their livestock. The setting is Even those closest to the artist are not immune to the the Superstitions. In my mind they adventuresome scenes he creates, particularly the paint- were stealing Old Man Reavis’s stock. ings that feature landmarks like the Superstition (The movie The Baron of Arizona was Mountains of Arizona, the state the artist and his wife a takeoff of Reavis’s life). They left call home. Sharon Stewart wrote to Brining, “Ron has him alone because according to leg- done a lot of larger paintings through the years. Some- end, he came out firing pistols at times they are commissions, or galleries request a large them wearing only gun holsters and piece for their bigger walls, and sometimes he just feels totally nude. They believed him like a challenge. In fact, Ron has a 40-by 60-inch crazy and that the spirits would pun- painting of a stagecoach with the Superstitions in the ish them if he was harmed. Refer- background, and a flock of quail in the foreground. It ence for the painting was from pho- hangs in Ron’s studio on a very large wall with skins tos of horses running in water from and artifacts around it.
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