impressionism

 

Wolf Kahn, White Sky, 2011, Oil on canvas, Jerald Melberg Gallery.  Click to inquire. 

 

 

The countdown has begun for the official start of summer and this mid-month evaluation has seen teases of the forthcoming blissful sun. This blog is an ode to FADA landscapes capturing that quintessential summer feeling (a la Jonathan Richman). This is visually regulated by the depictions of hazes.

 

 

 

Tomás Sánchez, Atardecer Dorado (Golden Sunset), Acrylic on canvas, Cernuda Arte. Click to inquire. 

 

 

Birger Sandzen, Smokey River (Kansas), Oil, David Cook Galleries. Click to inquire. 

 

 

Though hazes are often associated with a smothering fog, the landscapes in FADA’s inventory mix vibrant color and opaque palette application to conjure the pleasantness of the enveloping sun. From Wolf Kahn’s more contemporary landscapes in the inventory of FADA Member of Jerald Melberg Gallery to traditional manifestations in Trotter Galleries’ inventory.

 

 

Thomas McGlynn, Sycamores, Oil on canvas, Trotter Galleries. Click to inquire. 

 

 

 

Terry Delay, By Merced, Oil on canvas, Redfern Gallery. Click to inquire.

 

 

Recently, landscapes have been an overlooked genre. Once praised for their manifestations of nature’s moral meanings, a quick photo of our surrounding areas have replaced the need for majestically painted scenes. This blog post reinvokes the performative experience of looking at a landscape. How does paint enhance the feeling of a landscape-how do we sense ourselves amidst the hazy sunset? 

 

 

 

 

Robert Julian Onderdonk, Evening, Southwest Texas, 1911, Oil on canvas, David Dike Fine Art. Click to inquire.

 

 

 

Armin Carl Hansen, Looking Ahead, Oil on board, Redfern Gallery. Click to inquire. 

 

 

The pleasures of viewing art are often induced by the scenes of leisure they represent. Impressionism’s glorious fields and boating excursions celebrate the fleeting moments of down time implemented with state regulations of the work week. Within the orbit of impressionism, parallel schools of realism-with Courbet as the poster boy-offer canvases of gritty work.

 

 

Charles Sprague Pearce, Peeling Potatoes, c. 1885, Oil on canvas, Schiller & Bodo European Paintings. Click to inquire. 

 

 

Thomas Hart Benton, Threshing, 1941, Lithograph, Eckert fine Art. Click to inquire. 

 

 

Similarly, Victorian artist Ford Madox Brown-a contemporary to Rossetti and Aestheticism’s lounging ladies-is marked by an oeuvre celebrating work. At first shunned by critics for each artist’s equally worked canvases and ruddy colors, these works are now praised for their poignant nineteenth-century social observations. May 1st’s particular celebration of workers paves this post’s exploration of working bodies in FADA’s inventory.

 

Fernand Leger, Anciens Constructeurs, Tapestry, Jane Kahan Gallery. Click to inquire. 

 

 

 

 

 James Hollins Patrick, Factory Worker, Oil on canvas. George Stern Fine Arts. Click to inquire. 

This post looks at a more outdated definition of work-and offers viewers insight into an artist’s approach to depicting labor. Most importantly, questions about work often force an artist to consider how to reveal their own manual efforts to their audience-how do conceptions of the labor of an artist relate to attitudes on manual labor? 

 

 

Armin Hanse, Sardine Barge, 1922, Etching, Trotter Galleries. Click to inquire.