Views Along the Water
July 8 - August 29, 2014
Thomas Hart Benton (1889-1975), The Bicyclers, 1960, oil on board, 9 x 12 inches
Selections on view include works by Ludwig Bemelmans, Thomas Hart Benton, Oscar Bluemner, Alfred Thompson Bricher, Jasper Francis Cropsey, Arthur B. Davies, Edwin Dickinson, Preston Dickinson, Alexander Harrison, Frederick Childe Hassam, John William Hill, David Johnson, Louis Aston Knight, Reginald Marsh, Jervis McEntee, Willard Leroy Metcalf, Grandma Moses, Jane Peterson, Edward Henry Potthast, Maurice Brazil Prendergast, Francis Augustus Silva, George Henry Smillie, Francis Hopkinson Smith, Xanthus Smith, Walter Stuempfig, and Robert Vonnoh, among others.
Seeking Beauty: Paintings by James Jebusa Shannon
May 1st - June 30th, 2014
James Jebusa Shannon (1862-1923), Spot Red, 1896, oil on canvas, 49 1/2 x 20 1/4 inches
James Jebusa Shannon (1862-1923) was one of the most highly sought portraitists of his day and painted prominent members of society both in America and abroad. Like his esteemed colleagues, John Singer Sargent and James McNeill Whistler, he was well connected to the highest level of the artistic establishment. While his portraits have generally resided in institutions or descended in the families of his sitters, Seeking Beauty includes paintings that have remained in his own family, and most have never been seen publicly. Featuring family members and friends, they offer an intimate look into the artist’s personal life. A fully illustrated catalogue written by Dr. Barbara Dayer Gallati accompanies the exhibition.
Hayward Oubre: Difficult to Impossible
February 4-April 5, 2013
Proud Rooster, c. 1956, painted wire, 21 1/4 inches high
Hayward Oubre (1916-2006), known primarily as a sculptor, was also a painter, printmaker, and influential teacher. A native of New Orleans, he graduated from Dillard University, studied with the Harlem Renaissance painter Hale Woodruff, and earned a Masters of Fine Art degree from the University of Iowa, the third African-American to do so.
Featured in this exhibition are the artist’s signature wire sculptures of figural, biomorphic, and whimsical themes. They are made of ordinary clothes hangers, which Oubre shaped totally by hand, manipulating the wire with his own strength to create a more textural surface. In execution, the interwoven outlines of each piece are feats of balance, light, and minimalism.
Oubre’s work was regularly exhibited throughout his career, at historically black colleges and at annuals at Atlanta University (1946-1969). This exhibition is the artist’s first retrospective, shown first at the Greenville County Museum of Art in South Carolina and in New York, at Debra Force Fine Art.
Inspiration Abroad: American Artists in France & Italy
October 1-November 9, 2012
Guy Pène du Bois, Lady in a Cloak, 1927
Although American artists began making the “Grand Tour” in the mid-19th Century, it was during the next fifty years (1875-1925), that artists visited Europe, mainly France and Italy, in droves. The lure of each country was unique. France gave young Americans the opportunity to study with the French Masters, experience the atelier system, and to exhibit at the Salons. Italy offered artists something freer, an opportunity to work outside the constraints of juried exhibitions and artists’ associations, to explore the ruin-filled countryside and contemplate the area’s ancient history and regional cultures.
Selections include works by Frederic Arthur Bridgman, Mary Cassatt, Alson Skinner Clark, Jasper Francis Cropsey, Frederick Carl Frieseke, Walter Gay, Robert Henri, Daniel Ridgway Knight, Walter MacEwen, Guy Pène du Bois, William Lamb Picknell, Maurice Brazil Prendergast, and John Singer Sargent.
Ethnos/Techne: Theodoros Stamos and Michael Michaeledes
February 2 – March 23, 2012
This exhibition examines the relationship between Theodoros Stamos (1922-1997) and Michael Michaeledes (b. 1927), contemporaries who shared artistic ideologies and inspiration that each uniquely translated to canvas. Spanning the time period between the late 1940s and early 1980s, Ethnos/Techne explores each artist’s direct response to nature and light, transition to a mature style, and shared heritage. In the 1950s, Michaeledes produced intensely saturated washes of pure color, before moving to a sleek, reductive style that was based on geometric formations; Stamos’ work evolved from biomorphic canvases to classic Abstract Expressionism.
Catalogue available. For more information, please contact Debra Force or Helena Grubesic at 212-734-3636 or firstname.lastname@example.org.
Michael Michaeledes, Blue Variations, 1967 Theodoros Stamos, Infinity Field, Jerusalem Series, 1983