John Evans Art

Jack Stuck (1925-1993) "Abstract Landscape" 1960 Collage oil paint, charcoal, paper and canvas laid down on masonite 48"x46" natural wood frame 51" x 49" Si...

Oil on canvas modernist city scape painted circa 1950 by Paul K Smith (1893-1977) titled Central City, Colorado. Portrays a city scene of historic buildin...

Katharyn Gwendoln Truesdell - (American; 1909-1996) This colorful painting depicts a Southern California valley, likely near Sun City, over the mountains from Los Angeles and San Di...

'Central City, Colorado' by Leonard Silverstein is an original gouache on paper from 1954. Hand signed, titled, and dated by the artist in the lower right...

"Shelter Island Evening" is a blue and green oil painting of a Northeastern American harbor. Kelly Carmody’s work has been widely exhibited and collected. One of her major figurati...

Inspired by the ancient trompe l'oeil roman frescos of the Villa di Livia, this gardenscapes by artist Carol Pylant focuses on the most deteriorated and weathered sections of the frescos. Amidst the flora, the artist inserts an architectural element, an ode to her travels and teaching in Italy. By combining the present with the past, the artist continues her exploration of our spiritual and concrete connections with the ancient world. This piece is framed measuring 25.5h x 25.5w inches. Carol S. Pylant Entrata Severa oil on panel 24h x 24w in 60.96h x 60.96w cm CSP031 CAROL PYLANT Resume Title Artist / Emeritus Professor, University of Wisconsin-Madison Education 1979 M.F.A. Painting, Wayne State University, Detroit, MI 1977 B.F.A. Painting, Wayne State University, Detroit, MI Academic Appointments 1996 - 2011 Professor, University of Wisconsin-Madison 1991-96 Associate Professor, University of Wisconsin-Madison 1987-91 Assistant Professor, University of Wisconsin-Madison 1985 Instructor, Simmons College, Boston, MA 1984 Instructor, Art Institute of Boston, Boston, MA 1984 Instructor, DeCordova Museum and School, Lincoln, MA 1984 Instructor, Brookline Arts Center, Brookline, MA 1982-84 Assistant Professor, California State University, Long Beach, CA 1978-82 Instructor, Wayne State University, Detroit, MI International Teaching 2011 Professor, UW- Madison, Villa Corsi Salviati, Sesto-Fiorentino, Italy 2006,7 Visiting Affiliate Professor, Santa Reparata International School of Art, Florence, Italy International Artist Residencies 2017 Fundacio J. Llorens Artigas, Barcelona, (Gallifa) Spain 2015 Fundacio J. Llorens Artigas, Barcelona, (Gallifa) Spain 2002 Fundacio J. Llorens Artigas, Barcelona, (Gallifa) Spain 1990 The Tyrone Guthrie Center, Co. Monaghan, Ireland 1990 Oberpfalzer Kunstlerhaus,Schwandorf/Fromberg, West Germany 1987 Rockefeller Foundation Residency Fellowship, Bellagio, Italy 1987 The Karolyi Foundation, Vence, France International Research Awards 2010 Faculty Research Fellowship, UW-Madison, "Villa di Livia Frescos, Museo Nazionale, Rome, Italy" 2005 Faculty Research Fellowship, UW-Madison, "Romanesque Art in France" 2004 Faculty Research Fellowship, UW-Madison, "Paintings Inspired by Romanesque Art in France" 2002 Faculty Research Fellowship, UW-Madison, "Pagan or Christian, Romanesque Art in Spain" 1998 Faculty Research Fellowship, UW-Madison, "Paintings of Neolithic Monuments in Brittany" 1996-7 Vilas Associate Award, University of Wisconsin System, "Paintings of Prehistoric Stone Circles, Ireland and the British Isles 1995 Faculty Research Fellowship, UW-Madison, "Paintings of Celtic Ceremonial Sites in Ireland and the British Isles" 1993 Faculty Research Fellowship, UW-Madison, "Egg Tempera Paintings in Florence, Italy" 1992 Faculty Research Fellowship, UW-Madison, "Paintings of Ireland" 1990 Faculty Research Fellowship, UW-Madison, "Figure and Environment: Ireland" 1989 Faculty Research Fellowship, UW-Madison, "Figure and Environment Painting: Germany" 1988 Faculty Research Fellowship, UW-Madison, "Figure and Landscape Painting: Umbria, Italy" Other Awards 2008 Faculty Research Fellowship, UW-Madison 2007 Sabbatical, University of Wisconsin-Madison 2006 Faculty Research Fellowship, UW-Madison 2002-3 Emily Mead Baldwin-Bascom Named Professorship, University of Wisconsin 2000 Alumni Arts Achievement Award, Wayne State University Dept. of Art & Art History, Detroit, MI 2000 Faculty Research Fellowship, UW-Madison 1999 Faculty Research Fellowship, UW-Madison, "Past /Present: Paintings based on Celtic Imagery" 1999 Sabbatical, University of Wisconsin 1998 Wisconsin Arts Board Visual Arts Fellowship 1993 Faculty Development Grant, "Figurative Sculpture" University of Wisconsin System 1991,93 Visual Arts Development Grant, The Wisconsin Arts Board 1989 Visual Arts Fellowship for Painting, The Wisconsin Arts Board, Madison, WI 1988 National Endowment for the Arts Regional Visual Arts Fellowship, Arts Midwest 1986 Residency, Yaddo Corporation, Saratoga Springs, NY 1985 Residency, The Millay Colony for the Arts, Austerlitz, NY 1985 Residency, The Virginia Center for the Creative Arts, Sweet Briar, VA 1985 Milton and Sally Avery Award for Painting, The MacDowell Colony, Peterborough, NH 1984,5,6 Residency, The MacDowell Colony, Peterborough, NH International Exhibitions 2010 Handmade Artist's Journals, Villa Corsi Salviati, Sesto-Fiorentino, Italy 2008 Oberpfalzer Kunstlerhaus, Schwandorf, Germany 1995-99 Jorgensen Fine Art, Dublin, Ireland 1994 "Exquisite Corpse" Transmission Gallery, Glasgow, Scotland 1992 "Faces and Places of Ireland" Ulster Bank, Ardara, Co. Donegal, Ireland 199l "Ardara Annual Show" Ardara, Co. Donegal, Ireland 1988 Oberpfalzer Kunstlerhaus, Schwandorf/Fromberg, West Germany 1988 "Art .... Made in USA" Stadische Galerie, Deutsch-Amerikanisches Institut, Regensberg, West Germany 1987 Rockefeller Foundation Bellagio Study and Conference Center, Bellagio, Italy One and Two Person Exhibitions 2005 Peltz Gallery, Milwaukee, WI 2001 Peltz Gallery, Milwaukee, WI 2000 Grace Chosy Gallery, Madison, WI 1999 Peltz Gallery, Milwaukee, WI (with John Sayers) 1998 Grace Chosy Gallery, Madison, WI 1997 Barbara Bunting Gallery, Royal Oak, MI 1993 Peltz Gallery, Milwaukee, WI 1993 Carey Gallery, Rochester, MI (with Jo Powers) 1993 J. Cacciola Galleries, New York, N.Y. 1990 Pennsylvania School of Art and Design Art Gallery, Lancaster, PA (with Dan Gihooley) 1990 Hobe Sound Gallery, Brunswick, ME 1990 Levinson Kane Gallery, Boston, MA 1989 Bowdoin College Museum of Art, Bowdoin College, Brunswick, ME 1985 Trustman Gallery, Simmons College, Boston, MA 1982 Willis Gallery, Detroit, MI Selected Group Exhibitions 2015 "Exquisite Corpse" Printworks Gallery, Chicago, IL 2014 "Non-Stop" Invitational, Train Depot, Madison, WI 1989-2014 Peltz Gallery, Milwaukee, WI 2012 "Invitational Alumni Exhibition", Elaine Jacobs Gallery, Wayne State University, Detroit, MI 2002-10 Grace Chosy Gallery, Madison, WI 2008 Chazen Museum of Art, University of Wisconsin-Madison 2008 Chapman Museum of Art, Myrtle Beach, NC 2007 Carthage College, Kenosha, WI 2007 Spartanburg Art Museum, Spartanburg, SC 2007 "Real and Imagined" Elaine Jacobs Gallery, Wayne State University, Detroit, MI 2003-7 Ann Nathan Gallery, Chicago, IL 2003 "The Exquisite Snake" Printworks Gallery, Chicago, IL 2003 Robert Kidd Gallery, Birmingham, MI 2002 Sonyia Zaks Gallery, Chicago, IL 1995 Butler Institute of American Art, Youngstown, OH 1994 Milwaukee Institute of Art & Design, Milwaukee, WI 1993 Madison Art Center, Madison, WI 1993 New York Arts Club, New York, N.Y. 1993 "Previews of l993" J. Cacciola Galleries, NY 1992 "Small Painting Exhibition" J. Cacciola Galleries, NY 1992 "Women in the Bowdoin Collection" Bowdoin College Museum of Art, Brunswick, MA 1992 Steibel Modern, New York, NY 1984-91 Levinson Kane Gallery, Boston, MA 1986-7 Portraits Inc., New York, NY 1985-6 Kathryn Markel Gallery, New York, NY 1981-4 Frumkin and Struve Gallery, Chicago, IL 1984 "All California '84" Laguna Beach Museum of Art, Laguna Beach, CA 1983 "Western States Figurative Realism" Cypress College Art Gallery, Cypress, CA 1982 "Atlas Building Artists" Detroit Artists Market, Detroit, MI 1981 "Michigan Artists 80-81" Flint Institute of Art, Flint, MI 1981 Detroit Focus Gallery, Detroit, MI 1970 Detroit Art Institute, Detroit, MI Public Collections Heidelberg University, Tiffin, Ohio Fundacio J. Llorens Artigas, Gallifa/Barcelona, Spain American Express Corporation, New York, New York Ulster Bank, Ardara, Co. Donegal, Ireland Chazen Museum of Art, Madison, Wisconsin The Block Museum of Northwestern University Malden Public Library, Malden, Massachusetts Bowdoin College Museum of Art, Brunswick, Maine Oberpfalzer Kunstlerhaus, Schwandorf/Fromberg, Germany Beach Museum of Art, Manhattan, Kansas Virginia Center for the Creative Arts, Sweet Briar, Virginia University of Wisconsin, The Graduate School, Madison, Wisconsin Carol Pylant Bibliography 2017 M is for Math, Museum and Manhattan Kansas, by Natasha Rozhkovskaya, Publisher: Tamara Rozhkovskaya Novosibrisk 2015 Exquisite Corpse, Printworks Gallery, Chicago, IL. (Exhibition catalogue) 2013 "Remarkable Women Exhibit" by Mary Louise Schumacher, Journal Sentinel, online, Milwaukee, WI, June 25 2012 "Peltz Gallery Celebrates Remarkable Women" by Peggy Sue Dunigan, The Sheperd Express, Milwaukee, WI, July 7 2008 "Teachers Who Can, UW Faculty..." by Jacob Stockinger, The Capital Times, Madison, WI, February 2007 "Art in Nature" by Bill Robbins, Kenosha News, Kenosha, WI, September 14 2004 "Ambition clothes 'Remarkable Women'" by James Auer, The Milwaukee Journal Sentinel, April 7 2004 "Waxing enthusiastic over 'Colors'" by James Auer, The Milwaukee Journal Sentinel, February 18 2003 "Remarkable Women Celebrated" by James Auer, The Milwaukee Journal Sentinel, March 2003 "Art Lesson" by Jennifer Smith, Isthmus, Madison, WI, February 21 2003 "Installation Appreciation" by Kevin Lynch, The Capital Times, February 7 2001 "Pylant unites sketches with classical style" by James Auer, The Milwaukee Journal Sentinel, September 12 2001 "WSU Exhibit shows figurative painting" by Keri Guten Cohen, The Detroit Free Press, February 18 1999 "On Art" by James Auer, The Milwaukee Journal/Sentinel October 12 1999 "School of Art quadrennial exhibition" by John Aehl, The Wisconsin State Journal, January 24 1999 "Something old, something new" by C.R. Gabriel, Isthmus, February 5 1999 "Honoring our Own" Madison Magazine, January 1998 "The Madison Fifty" Madison Magazine, November 1997 "Back in the Game" by James Auer, The Milwaukee Journal/Sentinel, Nov. 26 1997 "Three artists will charm at local shows" by Joy Hakanson Colby, The Detroit News, May 8 1997 "At the Galleries" by Keri Guten Cohen, The Detroit Free Press, April 27 1997 "Talent not gender, is focus at show", by James Auer, Milwaukee Journal/Sentinel, December 11 1996 "Remarkable Women Exhibition" by James Auer, The Milwaukee Journal/Sentinel, Jan 14 1994 "In Art, these 20 made an impression in '93" by James Auer, The Milwaukee Journal, Jan 9 1994 "Window to the World" by Michelle Grabner, Milwaukee Magazine, Guide to the Arts, February 1994 "Art of Love: ..." by Elby Frieda Abbe, Milwaukee Sentinel, Let's Go. February issue 1993 "Variations on a theme", by Paul Pace, Rochester Clarion, Rochester, Mi, December 9 1993 "Work of women holds surprises in summer show", by Janice T. Paine, Milwaukee Sentinel, June 4 1993 "Remarkable Women has merit with or without it's gender theme", by James Auer, The Milwaukee Journal, June 13 1993 "Irish Landscape" Cross Country, Country Living Magazine, March (feature article) 1993 "Ireland's Wild West" On the Road, Country Living Magazine, March 1993 "Short List SoHo Gallery Exhibitions, The New Yorker, February 14 & 22 1993 "SoHo Exhibitions", Gallery Listings, New York Magazine, February 7 1993 Gallery Listings, The New York Times, January 31 1993 Tandem Press: Five years of Collaboration by Drew Stevens, University of Wisconsin Press 1992 "From the World's Hot Spots to Ardara", by Michael McHugh, The Donegal Democrat, Co. Donegal, Ireland, August 6 1992 "Exhibits spotlight women", by Janice T. Paine, Milwaukee Sentinel, June 5 1992 " Women's show proves a strong one", by James Auer, The Milwaukee Journal, May 24 199l "Tandem Press foster diverse printmaking styles", by John Carlos Cantu, Ann Arbor News, December 1 1991 "Quadrennially yours...U W art faculty exhibit show vital, vibrant", by Katherine Rogers, Wisconsin State Journal, January 6 1991 Who's Who in the Midwest 23rd Edition, A.N. Marquis, MacMillian Directory Division, Wilmette, Illinois 1990 "Impressive Art on a Small Scale", by Nancy Stapen, The Boston Globe, December 20 1990 "View from the Tower", by James Rhem, The Isthmus, December 21 1990 "NEA Survives but Artists Shiver", by Bill Moore...

You are viewing a modernist American acrylic painting depicting a charming but rundown seaside town at night. Robert Noel Blair (American, 1912-2003) was an American artist, paint...

Donald Stacy "Forest Through the Window" c.1950s Oil pastel and gouache paint on paper 14" x 17" unframed Unsigned Came from artist's estate Donald Stacy (1925-2011) New Jersey Studied: Newark School of Fine Art The Art Students League Pratt Graphic Arts Center University of Paris 1953-54 University of Aix-en-Provence 1954-55 Faculty: Art Department of the New School Museum of Modern Art School of Visual Arts Stacy Studio Workshop Exhibitions: Grand Central Moderns George Wittenborn The New School Print Exhibitions, Chicago University of Oklahoma Honolulu Museum Monclair Museum Wisconsin State College Louisiana Art...

De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC Exhibited: The American Federation of Arts Traveling Exhibition. From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings. De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

Palace of Fine Arts, San Francisco by Garrett Price (American, 1896-1979). Signed "Garrett" lower right. Unframed. Image size, 11.75"H x 15.25"W. G...

Donald Stacy "Two Trees" c.1950s Gouache on paper 24" x 18" unframed $950 Unsigned Came from artist's estate *Custom framing available for additional char...

The sky is ablaze with yellow and gold as the setting sun reflects its rays upon the cloud covered sky. Swaths of color envelop this romantic marsh setting. The golden tones surround the scene in a warmth that one can almost feel upon ones skin. Loose brush strokes and layers of paint give this scene depth and dimension. This piece is framed in an ornate wooden frame measuring 21 x 27 inches. Rose Freymuth-Frazier Sacred Space oil on panel 18h x 24w in 45.72h x 60.96w cm RFF049 Rose Freymuth-Frazier Employing the techniques of the past in the service of contemporary exploration, I seek to add a fresh voice to the sometimes venerable, sometimes dusty and archaic tradition of large-scale figurative painting, while subtly addressing the mythology, objectification and subjugation of women. My subjects are at first glance close to home-new mothers, friends, lovers, artists, dancers-but are then quickly placed at a distance via edgy modification, rigorous technique, minimal contexts and composition, and idiosyncratic use of color. I am also interested in social presentation, artifice, and simulation as they relate to my subjects. I hope to peel away a gossamer thin layer of reality, not just to document the real but also to reveal what might be. BIOGRAPHY Given my restless history, it is curious that I became a figurative painter in New York City. My maternal Grandparents fled Hitler's Germany in the late 1930's. After being refused entry to the United States, they were welcomed into the Dominican Republic, where they happily resided in a small orderly bungalow of their own design and made their living as studio photographer and cheese maker for seven years. Amid this exotic island milieu, my mother was born. Similarly, my fraternal grandparents, he being a US medic stationed in New Zealand and she, a seventeen year old Kiwi, met just long enough in the back of an ambulance in the early 1940's for her to come to the US on a steamer eighteen months later with their nine-month-old baby boy: my father. My eventual parents found each other in Nevada City, California, a small Gold Rush town flanked by a river and nestled in the foothills of the Sierra Nevada Mountains. There they fashioned a life according to their own rules and beliefs, free from the rigid standards of mainstream society. I was born on the floor of an old miner's cabin on a frigid November night in 1977. The midwife, who had learned the art of delivering babies while assisting her grandfather across the moors of Scotland, lived atop an icy ridge, did not own a telephone, and was summoned just in time. She made her living as a welder and considered her midwifery skill a gift. She refused to take money for her services. As payment, my mother, a ceramic sculptor, crafted her a large salad bowl with which to catch future placentas. So for the price of a handcrafted, multi-use salad bowl, (my first brush with art), I came into the world. I grew up in a free-spirited, idyllic wilderness until my existence was reported to the authorities in the form of a birth certificate. At eight years old, after some home schooling and experimental education, I was finally sent to public school. By sixteen I left the small town and moved in with my older brother who lived by the sea. A year later I applied and was accepted to the Interlochen Arts Academy in Northern Michigan where I spent my senior year of high school. At eighteen years old, I came to New York City on a scholarship to study theater. The city dazzled me, but after completing the term of study-and perhaps echoing my mother's flight from Barnard on a motorcycle years before-I headed back west, this time to Los Angeles where I landed in a Hollywood Boulevard youth hostel. It was in the culturally diverse atmosphere of Southern California, amid the palms, cars, and birds of paradise that I began to paint. In a twist of fate that only Hollywood could deliver, I was "discovered" stuck in traffic on Ventura Boulevard and given a record deal, (although I was not a singer). For six months I was under contract as "Ruby Blonde" and was paid to do nothing. Mercifully, the album was never made but I chose to use the free time and money to paint. Inspired by trips through Mexico and Guatemala, I fashioned giant faces from memory, which I painted on oversized pieces of scavenged plywood. I found the act of painting both hypnotic and meditative. So I returned to New York, (via Argentina), to further pursue the serious study of figurative painting technique. We know that in the past realism was discredited as kitsch and blamed for it's ability to appeal to and affect the masses. This inherent accessibility is the reason I choose to paint in the realist tradition. Education Private Study with and assistant to Steven Assael, New York City, 2004-2006 Private Study with and assistant to Odd Nerdrum, Norway, 2005 Independent Study in Europe, Summer 2005 New York Academy of Art, Master Class with Steven Assael, 2004 The Art Students League of New York, Gregg Kreutz, 2002-2004 American Musical and Dramatic Academy, New York City, 1996-1998, Graduate Interlochen Arts Academy, Interlochen, Michigan, 1996, Graduate Solo Exhibitions Rose Freymuth-Frazier: The Virgin and the Unicorn, Ann Nathan Gallery, Chicago IL, December, 2012 Rose Freymuth-Frazier: Whispering Sisters and the Female Figurative Image, Cress Gallery, University of Tennessee at Chattanooga, 2010 Rose Freymuth-Frazier: Variation, Ann Nathan Gallery, Chicago IL, October 2007 Select Group Exhibitions On Adornment - Pen & Brush, New York City, 2018 Five and Under - Arcadia Contemporary, Pasadena, CA, 2018 35th Anniversary Show - AFA-NYC, New York City, 2018 Realism: Then and Now - Cavalier Galleries, New York City, 2018 Art on Paper Fair - Gallery Victor Armendariz booth, New York City, 2018 Figure 8 - Gallery Victor Armendariz, Chicago, IL, 2017 Coming Attractions - Gallery Victor Armendariz, Chicago, IL, 2017 Summer's Ghost - Parlor Gallery, Asbury Park, NJ, 2016 BeinArt Collective Surreal Art Show - Copro Gallery, Santa Monica, CA, 2016 American Realism: Past to Present - Cavalier Galleries, New York City, 2015 Les Petit Fours, International Group Exhibition, (co-curated by Beautiful Bizarre Magazine and Friend's of Leon Gallery) - Friends of Leon Gallery, Sydney, Australia, 2015 Inaugural Group Show - Haven Gallery, New York, 2015 In the Way of Beauty - Parlor Gallery, Asbury Park, NJ, 2015 Benefit Show for the Southampton Animal Shelter - Richard J. Demato Gallery, Sag Harbor, NY, 2015 Rose Freymuth-Frazier, “Prints” at Lay-Low Fine Art in Balearic Islands, Spain, 2015 Contemporary Realism - Cavalier Galleries, Greenwich, Connecticut, 2014 Benefit Show for the Southampton Animal Shelter - Richard J. Demato Gallery, Sag Harbor, NY, 2014 Contemporary Realism - Cavalier Galleries, New York City, 2014 Infusion - Roq La Rue Gallery, Seattle, Washington, 2014 Laluzapalooza - 28th Annual Group Show - La Luz De Jesus Gallery, Los Angeles, CA, 2014 20th Anniversary Group Show - Copro Gallery, Santa Monica, CA, 2013 Mums The Word, curated by Hilary Harkness, Mills Pond House Gallery, New York, NY, 2012 SOFA New York, Park Avenue Armory, New York 2012 Two Faces of Beauty, Ann Nathan Gallery, Chicago IL, 2010 Art Chicago, Chicago IL, 2010 SOFA New York, Park Avenue Armory, New York 2010 Art Chicago, Chicago IL, 2009 SOFA New York, Park Avenue Armory, New York 2009 Portraits, Ann Nathan Gallery, Chicago, IL, 2009 Art Chicago, Chicago IL, 2009 SOFA New York, Park Avenue Armory, New York 2009 Art Chicago, Chicago IL, 2008 Palm Beach III, Ann Nathan Gallery, Palm Beach, Florida, 2008 SOFA New York, Park Avenue Armory, New York, 2008 The Painters, Bill Lowe Gallery, Atlanta Georgia, 2007 SOFA New York, Park Avenue Armory, New York, 2007 Art Chicago, Chicago IL, 2007 Above & Beyond, Ann Nathan Gallery, Chicago IL, 2007 Select Publications and Press Playboy Magazine, Interview - March 30th, 2016 Ms. Magazine, Online Feature - March 10th, 2016 Beautiful Bizarre Magazine, Interview - November 5th, 2015 Featured in “Uno de los Nuestros”, Barcelona, 2015 Hi-Fructose, Online Feature - June 17th, 2014 Beautiful Bizarre Magazine, 12 page Feature, Issue 006, September, 2014 Beautiful Bizarre Magazine, Online Feature, April 18th, 2014 Line & Stylish Art Magazine, “Artist of the Month”, April, 2014 iARTistas Summer Nude Issue, 2014 The Nerdrum School - Orfeus Publishing, 2013 Huffinton Post - May 24th, 2013 The 22 Magazine - Feb. 8th, 2013 Combustus Magazine, December 15th, 2012 Poets and Artists, October, 2012 American Artist Magazine, September, 2012 Creative Quarterly, Winter 2011/2012 Direct Art Magazine, Fall, 2011 Art Papers, January, 2011 American Art Collector Magazine, September, 2010 American Art Collector Magazine - Second Annual Art of the Nude, 2010 Chattanooga Times Free Press, August 29th, 2010 ArtNews, October, 2007 Chicago Tribune, November 9th, 2007 Direct Art Magazine, Spring, 2007 Select Collections The Bennett Collection of Women Realists Seven Bridges Foundation, Greenwich, CT Diane and John Marek Collection, Chattanooga, TN Billy Hunt Collection, Chicago, IL Phil Burgess & Jim Nutter, Chicago, IL Rick Shoemaker & James Ruud, Chicago, IL Joan Berger, Chicago, IL Jack & Gail Witlin, Palm Desert, CA Bill & Tavi Flanagan, Irvine, CA Brian Westphal & Michael McVicker, Chicago, IL Awards and Honors Art Renewal Center’s International Salon - Figurative Category - Finalist, 2013/2014 European Museum of Modern Art, MEAM - Figurativas '13 - Barcelona, Spain - Finalist, 2013 The American Chinese Oil Painting League - Butler Museum Exhibition - Finalist, 2011 John and Diane Marek Visiting Artist Lecture Series, University of TN, Chattanooga, 2010 Chairman of the Board Award, Salmagundi Club, 2006 Al Barker...