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AMERICAN

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PREV IEWS OF WORK S FOR SALE AT U PC OMING SHOWS C OAST TO C OAST J A N U A R Y 2 0 1 9 I S S U E 1 5 9

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COLLEC TOR'S FOCUS STILL LIFES

T he earliest still life paintings were made in Egypt 17,000 years ago. Artists have kept the genre alive for millennia. Today, the

nature morte of the French has never been more alive.

The inanimate—or perhaps dead—objects in still lifes can be rich with symbolism. Manet thought “still life is the touchstone of a painter…A painter can say all he wants to say with fruit or flowers or even clouds…”

We often think of things as black or white—this, not that. We’re less comfortable with grays.

In her Composition with Blue Cups, Olga A ntonova explores the “gray” of

“blue” from aqua to cobalt. The cups’ lives as vessels are blurred by a slight irregularity in their drawing. The texture of the canvas is evident as are her brush-strokes in the highlights on the rims of the cups. This is a painting. I admire the still lifes of the Golden Age of the 17th century, but I am more in awe of the human brain that can deal simultaneously with the fact that a few brushstrokes on a canvas “are” teacups as much as they “are” brushstrokes. For Antonova the teacups are incidental to solving the technical problems of representing shapes, color and light. The process is meditative as she contemplates what is in front of her and

begins to interpret it in paint.Scott C onary gives the paint even more

presence, straddling the line between repre-sentation and abstraction. He uses strong, sometimes straight colors, building up and scraping away until, in a way, the painting tells him it is finished. In Narcissus, there is a suggestion of a window frame, its linearity distorted through the glass bottle, and of outdoor vegetation. The bottle on the ledge and the yellow-white and orange blossoms are bathed in light and burst from the surface.

Conary says, “…a painting is largely an act of intuition. The way a mark is made and how it builds the image is itself a

Sy m b ol ic OBJECTS

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response and as important as the final image. This creates a tension between abstract and representation, and leaves room for the viewer to themselves react and participate. This is part of the basic urge to scribble something, to shape the world, and to scrutinize and try to under-stand that world.”

Jon Doran addresses the duality of paint/object by introducing a digital frag-mentation. He says, “Hopefully viewers find themselves bouncing between engaging with the subject, the cup or floral arrangement, for example, and the actual substance of paint, the streaks, dashes and marks. Almost like breaking the fourth wall, I hope to coax the eye into believing the play of light on form, but then call it out and show that it’s just paint on a surface.”

Mia Bergeron spent three years painting from life in a Florence atelier. She learned to paint and she learned that painting

1 . Selby Fleetwood Gallery, Composition with Blue Cups, oil on canvas, 12 x 24", by Olga Antonova. 2 . Scott Conary, Narcissus, oil on panel, 12 x 12". Courtesy the artist and the Salmagundi Club, New York, NY. 3 . Abend Gallery, Pink Rose and Black, oil on panel, 13.87 x 11.22", by Jon Doran. 4 . Mia Bergeron, Plums in the Forest, oil on panel, 10 x 10". Courtesy the artist and the Salmagundi Club, New York, NY.

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“To art collectors interested in owning original art, I would

recommend purchasing a still life because of

the timeless beauty and classical nature of the

subject matter.” — Laurie Hendricks, artist



takes discipline. Her pleasure in painting has grown, and her discipline seems more from within than imposed. Her goal is “to be curious about what I am seeing and depicting, and to be open to whatever it wants me to notice.”

Returning from a day of painting in the sun in the Franklin State Forest in Tennessee, she saw the “perfect plums” she and her husband had brought with them to their cabin. Even tired from a day

of painting, she couldn’t resist. She says, “The painting happened really just out of joy and a need for shade!”

In Plums and Forest the lush plums in the cool shade stand out against the hot, sunlit forest. The paint is rapidly applied but not a detail is missed from the red highlights of the plums to the hot sky and cooler shade.

Bergeron is fond of the writings of Rainer Maria Rilke (1875-1926) whom I have quoted before referring to her work.

Rilke wrote, “If you will stay close to nature, to its simplicity, to the small things hardly noticeable, those things can unexpectedly become great and immeasurable.”

Within the pages of this special section are traditional and contemporary still life compositions. The processes are individual to each artist as well as the inspirations and insights of the genre, allowing the works of art to take on their own narratives.

C laggett/Rey Gallery in Vail, Colorado,

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features the still life paintings of Laura Robb. Gallery owner Bill Rey says, “Laura Robb’s still life paintings reflect her decades in the studio and the mastery of her chosen medium: oils. They are rich with the warmth of bold color, thick and thin paint mixed with soft, subtle strokes, and just enough hard edges to reward the viewer’s gaze. She paints from life, each

composition set up to resonate with her appreciation of objects and flowers. Laura is not painting things. Every painting is her visual diary reflecting the depth of her desire to create a work of beauty.”

Rey says that collectors who are inter-ested in paintings such as Robb’s should take the time to slow down and absorb each work. “When one resonates with you, look

deeper to understand why you feel the way you do,” he adds. “Artists who have created for decades, such as Laura Robb, have a creative truth and confidence in their work. We like them because of the way they make us feel, and when we really look close we find ourselves in awe.”

The John C . Doyle A rt Gallery in Charleston, South Carolina, represents

5 . Derek Penix, White Roses, oil, 20 x 20" 6 . Lotton Gallery, Floral with Birds and Apples, oil on canvas, 30 x 24", by Yana Movchan. 7 . Rehs Contemporary Galleries, Blackberry, oil on panel, 6 x 6", by Beth Sistrunk. 8 . Lotton Gallery, Winter Bouquet, oil on canvas, 24 x 30", by Gelena Pavlenko. 9 . Lotton Gallery, It’s Going to Rain, oil on canvas, 20 x 16", by Gelena Pavlenko. 1 0 . Rehs Contemporary Galleries, Lemon Blueberry, oil on panel, 6 x 6", by Beth Sistrunk. 1 1 . Claggett/Rey Gallery, Symphony in Blue and Yellow, oil, 12 x 12", by Laura Robb. 1 2 . Antonios Aspromourgos, Sweet Dreams, oil on board, 16 x 16"

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the work of Mumbai, India, native Dhwani Parekh. As the gallery explains, “Brought up in a very urban environment, her visits to national parks filled with flowers and fauna first inspired her toward a career in art. Before moving to California in 2015, she

had already become a well-known artist in India at a young age and received count-less awards. The American art market is bursting with young talent in realism, and Parekh has much to contribute. Her skilled and classic still life works with a touch of

contemporary style appeal to collectors from all over the world.”

Parekh says the act of painting is about getting to know herself. “I love the way my paintings transition from an idea to a piece of art, making me more spiritually matured

1 3 . Rehs Contemporary Galleries, Pumpkin Spice, oil on panel, 6 x 6", by Beth Sistrunk. 1 4 . Claggett/Rey Gallery, Arrangement with Amaryllis, oil, 12 x 10", by Laura Robb. 1 5 . Antonios Aspromourgos, Peretti’s Peonies, oil on canvas, 30 x 24" 1 6 . Antonios Aspromourgos, Moonlight Garden, oil on canvas, 20 x 24"

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GAIL FAULKNER [email protected] gailfaulknerstudio.com

August Laurel Gallery | augustlaurel.com307 E Ojai Avenue, Ojai, CA 805-646-0967

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Cantaloupe and Blueberries, 16" x 12" Oil on Board

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William Ris Gallery JAMESPORT, NY

Beacon Fine Arts GalleryRED BANK, NJ



in the process,” she says. “This makes me very connected to my paintings.”

Lotton Gallery in Chicago represents artists Yana Movchan and Gelena Pavlenko. Both women honed their classical training in the Ukraine, their native homeland, before moving to North America. Movchan made her home in Canada and Pavlenko recently moved to the United States.

“Yana Movchan is well known for her incredibly detailed floral still lifes.

Movchan’s most recent piece titled Floral with Birds and Apples is a masterful feat of composition, technique and imagina-tion,” says Christina Franzoso, director of the gallery. “Gelena Pavlenko’s works are peaceful and quiet in feeling. She likes to create a place of solitude and serenity, evident in her newest still life It’s Going to Rain.”

N e w Yo r k C i t y - b a s e d R e h s Contemporary Galleries features the still life series Zero Calories by Beth Sistrunk

that are themed around a variety of treats. In describing the work, the artist says, “For my Zero Calories series, I make lollipops by hand and pose them with their respec-tive nostalgic desserts. Each morsel is carefully crafted to be as beautiful as it is delicious. These little paintings are the Zero Calorie alternative to satisfying your sweet tooth.”

The most recent period of A ntonios A spromourgos’ artistic career has been focused on still life. “The detailed approach

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to the subject is fascinating to me, while the intense color variations I choose for my compositions function as correspondences, delineating and pushing the composi-tion to the edge of abstraction,” he says. “I am especially attracted to ‘collections’ of various objects of related material and usability, as they spur my imagination and enthusiasm.”

Gail Faulkner, who is represented by A ugust Laurel Gallery in Ojai, California, finds her artistic passion is for still life. “From my extensive travels, to a treasured

find in a local thrift store, my eyes are always searching for that special piece that says ‘I have to paint this!’ I love exploring the interplay of my composi-tions—arranging and rearranging—to find

the perfect balance,” she explains. “From the reflection on a favorite ceramic piece, to the intricate weave of a basket, to the never-ending shapes and colors of comple-mentary fruits, I do my best to capture it

1 7 . Claggett/Rey Gallery, White Cosmos, oil, 14 x 9", by Laura Robb. 1 8 . John C. Doyle Art Gallery, Transition, oil on panel, 11 x 14", by Dhwani Parekh. 1 9 . John C. Doyle Art Gallery, Between Oranges, oil on linen, 12 x 12", by Dhwani Parekh. 2 0 . Richard A. Johnson, Pasture View, acrylic on canvas, 48 x 60" 2 1 . John C. Doyle Art Gallery, Roses, Lisianthus and Fern Shoots, oil on panel, 16 x 16", by Dhwani Parekh. 2 2 . Suzanne Aulds, Limeade, oil on canvas, 24 x 24" 2 3 . Ron Garnier, Pansies & Grapes, oil on linen, 9 x 12" 2 4 . Patrick Nevins, Early Birds, oil on panel, 10 x 8"

“Collectors should look for a piece that grabs their attention at first glance—the piece in which they can easily read the story; the piece that brings enjoyment

each time they view it.” — Lorraine Bushek, artist

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all with a precise detail that often makes viewers wonder if it is really watercolor.”

Laurie Hendricks never tires of painting still lifes and believes painting from life, regardless of the genre, allows her to see nature’s true colors and values. “When I am not out plein air painting, I am in the studio painting a still life. I love to arrange the ‘spots of color’ to a harmonious effect, using complementary colors before the painting begins,” she says.

Her works are done in a loose, impres-sionist/expressionist style that is in direct response to the subject, and filters through her emotions to create a unique work of

art. She is represented in California by Hillside Fine A rt in Claremont and The Nest Gallery in Cambria.

“Classic, exquisite, ageless and universal. The genre of still life painting has stretched through the centuries,” says artist F. Lisa Hannick. “As early as 5 B.C. (see Zeuxis and Parrhasius and Pliny the Elder), still life painting has been created, discussed, debated and has endured. A collection without still life paintings would be incomplete. For the avid art collector it is paramount that this genre be included in their collections.”

Lorraine Bushek, who is a member of

the Lake Area Artists of Lake Oswego, Oregon, says still life is one of her favorite genres to paint. “I am challenged by the interactions of the objects and the play of light on them,” she shares. “Each still life tells a story.”

The still life paintings of Matthew Bird are inspired by the Dutch masters. His paintings “employ a dark background, which allows light to starkly reveal the beautiful textures and colors on the table, each carefully studied with precision and clarity,” he says. “Whether it’s crusty bread, sparkling crystal or shiny fish scales, each provide challenges I like to solve.”

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His painting Bread, Fish, Wine transforms simple kitchen ingredients into objects that demand contemplation. “Beauty can be found in the most ordinary of things, and part of an artist’s job is to share that,” Bird says. “In this case, the ingredients for a humble meal are elevated, allowing the viewer to pause and enjoy the beauty found in everyday objects.”

Artist Nancy Balmert paints still lifes where flowers are the centerpiece as well as ones where the objects are the focal point. Her painting Rose Glow was

inspired by the sunlight that was hitting the flower when she saw it. She explains, “For the main flower, I was inspired to use Rembrandt’s method of focusing light on what he wanted the viewer to see in a painting.” Another of her works, Red Red Wine, is from her series of Bar Paintings and is titled after the song of the same name that was written and first performed by Neil Diamond in 1967.

Balmert is represented by The Marshall Gallery of Fine A rt in Scottsdale; A msterdam Whitney International Fine

A rt in New York City; and Prellop Fine A rt Gallery in Salado, Texas.

“My work has to breathe,” says Pamela Berkeley. “A still life is a metaphor that implies the large world, and it must live and move. I can paint anything, and have been doing it for a long time. I work from natural light, whether sunlight or candlelight. I work from eye to hand, and paint what I see as honestly as I can. What delights my eyes. Nature is always in balance if you pay attention. If I feel like throwing in a floating rose or a salamander, why not; I’m the one

2 5 . Richard A. Johnson, Studio Study, acrylic on canvas, 14 x 16" 2 6 . Richard A. Johnson, Seed King, acrylic on canvas, 48 x 60" 2 7 . Suzanne Aulds, Sunflower Medley, oil on canvas, 36 x 24" 2 8 . Lorraine Bushek, Hubbard Squash & Rabbit Figurine, oil, 16 x 20" 2 9 . F. Lisa Hannick, Cantaloupe and Blueberries, oil on board, 16 x 12" 3 0 . Gail Faulkner, Sunny Citrus, watercolor, 9 x 11" 3 1 . Suzanne Aulds, Peonies, oil on canvas, 24 x 24" 3 2 . Pamela Berkeley, The Blizzard of ’17, oil on canvas, 28 x 30"

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doing the painting.”Through December 22, Berkeley’s

artwork will be show in the solo exhibition Then and Now at Blue Mountain Gallery in New York City. On view will be 30 paint-ings that include new works and pieces from across the five decades of her career.

Patrick Nevins’ recent Trompe l’Oeil works range from playful and humorous to sober and serious. “My work, unlike tradi-tional still life paintings, depicts images that are not inherently possible in real life with subjects suspended in midair or some other implausible manner,” he says. Pieces such as Early Birds pay homage to past artists, including ornithologist and painter John James Audubon. He also paints works that comment on today’s social and political climate.

Richard A . Johnson graduated from Ringling College of Art and Design in 1972, and was torn between painting still

lifes and landscapes for several years. “I solved the problem by starting my series of Trompe l’Oeil windows,” he says. “In these windows I use both elements together in one painting. The windows are done as if you were outside looking in at a still life on a table, with a reflection of what is outside. I have been painting this series for over 40 years now and also do niches,

collectors’ shelves and other Trompe l’Oeil paintings.”

Johnson has won awards for the Trompe l’Oeil paintings and also does commis-sioned window paintings for clients cross the United States.

According to Ron Garnier, who is repre-sented by Grafica Fine A rt in Saint Louis, Missouri, “Painting a still life is a challenge

“Every painting that is purchased has something about it that personally connects with the buyer. The

connection creates a distinctive reaction that is personal and unique. The experience is often one of calmness,

introspection and reflection provoked by a combination of past experiences, values, beliefs, relationships and

one’s sense of beauty.” — Ron Garnier, artist

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that’s full of complexity. My challenge is to develop a story with a theme that will elicit a meaningful experience that provokes a sense of calmness, introspection and refec-tion.” Light is always the main subject of his still lifes, while the background also has a key role in telling the story.

Some of Garnier’s still lifes include subtle symbolism, such as in Pansies & Grapes. “For example, pansy flowers over the past centuries have been used as a

symbol of remembrance and love,” he says. “Giving a loved one a bouquet of pansies is still a way of saying I’m thinking of you, I miss you and I love you.”

The paintings of California artist Sally Ruddy are everyday images that connect with the viewer’s emotional psyche. She captures fleeting moments with an array of magnificent colors and soft brushstrokes that become poetic upon observation.

Ruddy’s paintings have “sensuality”

about them and subtle allegorical content. The richness of possibilities is captured in each painting. She says, “I love painting still life. There is something meditative about sitting with everyday objects. I like the emotional or spiritual connection between the audience and a familiar object. It echoes something for them.”

“Over time my collection of objects that inspire me to paint has grown and filled my shelves in my studio and home,”

F E A T U R E D

Artists & Galleries

3 3 . Pamela Berkeley, The Circuitous Route, oil on canvas, 28 x 30" 3 4 . Matthew Bird, Bread, Fish, Wine, watercolor on paper, 22 x 30" 3 5 . Matthew Bird, Venus and the Bard, watercolor on paper, 22 x 28" 3 6 . Laurie Hendricks, Autumnal Assemblage, oil on canvas, 24 x 18" 3 7 . Nancy Balmert, Rose Glow, oil on canvas, 24 x 20" 3 8 . Sally Ruddy, A Guinness and A Chardonnay, oil on canvas, 9 x12" 3 9 . Sandy Machell, White Pitcher, oil, 9 x 8"

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ABEND GALLERY1412 Wazee Street #1, Denver, CO 80202 (303) 355-0950, www.abendgallery.com

ANTONIOS ASPROMOURGOS (619) 770-7113, [email protected] www.aspromourgosart.com

CLAGGETT/REY GALLERY100 E. Meadow Drive, Suite 7, Vail, CO 81657, (970) 476-9350 www.claggettrey.com

DEREK [email protected] www.derekpenix.com

F. LISA HANNICK [email protected] www.hannickfineart.com

GAIL FAULKNERVentura, CA, (805) 652-0065 www.gailfaulknerstudio.com

JOHN C. DOYLE ART GALLERY125 Church Street, Charleston, SC 29401 (843) 577-7344, [email protected] www.johncdoyle.com

LAURIE HENDRICKS(626) 833-0106 [email protected] www.lauriehendricksart.com

LORRAINE [email protected] www.lorrainebushek.com

LOTTON GALLERY900 N. Michigan Avenue, Level 6 Chicago, IL 60611, (312) 664-6203 www.lottongallery.com

MATTHEW BIRD(410) 581-9988 [email protected] www.matthewbird.com

MIA BERGERONwww.miabergeron.com


says artist Sandy Machell, who maintains a studio in Nashua, New Hampshire. “Some never become part of a composi-tion as much as I try. Some reappear over and over. It seems there is never enough stuff when it comes time to develop a still life. It is the combination of many things that have to work together in many ways to create a picture worthy

of painting. Sometimes the beauty is in the simplicity of a single object and the effect light has on the form and color. Having trained many years in the tradi-tion of the ‘Boston School’ it is always my goal to try to remain true to its values, accurate drawing, strong light effect and overall unity.”

For her still life paintings Suzanne

A ulds is most inspired by the objects themselves. “I seek to combine contrasting and sometimes unexpected objects—a variety of shapes, colors and textures—to achieve a sense of balance. Patterned, flowing fabrics marry with hard-edged and/or organic elements to produce compositions that are simultaneously dynamic and harmonious.”

F E A T U R E D

Artists & Galleries

4 0 . Laurie Hendricks, Chinese Magnolias, oil on canvas, 24 x 18" 4 1 . Nancy Balmert, Red Red Wine, oil on canvas, 16 x 12" 4 2 . Sally Ruddy, The Telephone, oil on canvas, 20 x 16"

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NANCY BALMERTwww.nancybalmert.com

PAMELA BERKELEYP.O. Box 93, Sheffield, MA 01257 (413) 717-8264 [email protected] www.pberkeley.com

PATRICK [email protected] [email protected] www.patricknevinsart.com

REHS CONTEMPORARY GALLERIES5 E. 57th Street, 8th Floor, New York, NY 10022, (212) 355-5710 www.rehscgi.com

RICHARD A. JOHNSON(843) 229-0660 [email protected] www.richardajohnsonart.com

RONALD [email protected] www.artbygarnier.com

SALLY [email protected] www.sallyruddy.com

SANDY MACHELLNashua, NH [email protected] www.sandymachell.com

SCOTT CONARY(971) 322-6980 [email protected] www.scottconary.com

SELBY FLEETWOOD GALLERY600 Canyon Road, Santa Fe, NM 87501, (505) 992-8877 www.selbyfleetwoodgallery.com

SUZANNE AULDS(843) 816-1178, [email protected] www.suzanneaulds.com

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