Sometime before 1901, he painted the figures out and re-worked some areas of the wave. The painting became somewhat abstract but reveals the full force of a “nor'easter” off the coast of Maine—without the viewer wondering about why the men are there and what will happen to them. Homer’s studio at Prouts Neck, now beautifully restored and open to the public, sits on a rocky cliff overlooking the ocean.
Homer wrote, “The life that I have chosen gives me my full hours of enjoyment for the balance of my life. The sun will not rise, or set, without my notice, and thanks.”
Christopher W. Benson grew up “in and on” the water on the New England coast, a lot farther south than Maine. Newport, Rhode Island, was one of the country’s five leading seaports in colonial times, long before the mansions of the gilded age were built along its shore.
Benson’s seascapes, like Shorebreak, embody his deftly blending abstraction and realism. He has said, “I want to make de Koonings and hide them inside of Homers.” The eye and the mind wander along his fluid brush strokes, contemplating the translucent green of the breaking wave and the deeper blue of the distant sea, the depiction of an imagined scene and the energetic surface of paint. He remarks, “The thing I love is the paint. And I like the surface in both the realism and the abstraction.”
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Guardians of the Temple – Simon Dinnerstein reflects on The Fulbright Triptych 50 years later.
The Palmer Museum of Art at Penn State University exhibits Simon Dinnerstein's The Fulbright Triptych haunts the visual lexicon of 20th century American representational art. Fifty years have passed since Dinnerstein completed the painting in 1974.
A City Perspective
Leslie Gaduzo has always been interIested in art. Since childhood, he has been drawing constantly, from single point perspective drawings at age 10 to complex architectural drawings.
Living Legacy
The Butler Institue hosts Allied Artists of America's 110th Annual Juried Exhibition.
Elegant yet Approachable
The second edition of the RTIA Show presents even more art to explore and expanded special programming.
Figuratively Speaking
New York has always been an epicenter of artists on the edge of excellence, pushing the envelope and finding their voices.
JAMES AYERS: The Importance of Play
Like many artists, James Ayers' work took a turn during the Covid-19 pandemic. Seeing the enjoyment his kids took from playing with paint in his studio and exploring their creativity inspired him.
GINA MINICHINO: Playing with Food
Gina Minichino started her journey in visual arts because of Charles Schulz. \"He was my earliest influence for drawing and the reason I wanted to be a cartoonist,\" she says.
Island Light
The Cuttyhunk Island Artists' Residency is held in a sprawling, 100-year-old house on an island off the southern coast of Massachusetts.
Solitary Forms
Hogan Brown has been working with Arcadia Contemporary for two and half years and is excited to be featured in his first solo show at the gallery. He doesn't take for granted the many talented figurative painters Arcadia represents and is thrilled to be among them.
Living the Dream
Counterintuitively, David Gluck was a painter before taking up tattooing little more than a decade ago. While skin is a completely different substrate and ink a far cry from oil paint, the skills must be transferrable to some degree because there is a wait-time of nine months to get an appointment with him.
