Landscape – PETER JUNG FINE ART

Landscape

Adam Peiffer (1985-) Contemporary,

Medium: Oil on board
Image Size: 14” x 20”
Frame Size: 22” x 27”
Signature: Signed lower right
Price: $3500

Biography/Statement

Adam graduated from the Lyme Academy College of Fine Arts in 2007 with a BFA in Painting. In 2008, he moved to New York City where he painted in the studios of Jeff Koons, Ken Solomon, and Frank Brunner. His work is collected internationally. He currently resides in Pawling, NY.

Artist Profile Page: Peiffer, Adam / Categories: Landscape

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Peiffer, Adam

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Clinton Loveridge (1824-1915)

Near Geneseo, New York

Medium: Oil on canvas
Image Size: 20” x 36”
Frame Size: 30” x 46”
Signature: Labeled verso
Price: $9500

Biography/Statement

Clinton Loveridge painted numerous pastoral landscapes with cattle and sheep, somewhat influenced by the Hudson River School. He was born in Albany, New York in 1824, dying in Brooklyn, New York in 1915.

He was active in Albany, New York from 1857 to 1860. He exhibited at the Brooklyn Art Association from 1867 to 1884 and exhibited periodically at the National Academy of Design from 1867 to 1899. One of his painting locations was the White Mountains of New Hampshire.

Artist Profile Page: Loveridge, Clinton / Categories: Landscape

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Paul King (1867-1947)

Medium: Oil on canvas
Image Size: 25” x 30”
Frame Size: 35” x 40”
Signature: Signed lower right, inscribed with location verso
Price: $7500

Biography/Statement

Traditional American painter Paul King was born in Buffalo, New York on February 9, 1867. Even as a boy, Paul learned the meaning of composition, color, and texture as he assisted his father, Bernard H. King, a competent designer and craftsman of objects in precious metal.

He also learned the importance of draftsmanship at the age of sixteen when he took up lithography. After the founding of the Buffalo Art Students League (1891), King became one of the first to study there. In Buffalo’s Bohemian Sketch Club he shared his enthusiasm for art with Eugene Speicher, Edward Dufner, and George Bridgman who also taught at the Buffalo Art Students League. The League would move into the basement of the Albright Art Gallery in 1902. Beginning in 1899, Bridgman became an influential teacher at the Art Students League in New York, where, between 1901 and 1904, King studied life drawing under H. Siddons Mowbray, a highly respected academic painter. King had already felt the influence of the international style of impressionism in the 1890s. Some of this derived from the Art Students League and from the 1901 Pan-American Exposition in Buffalo.

During that period, King’s manner was somewhat conservative, as he painted landscapes, marines, portraits, and rural genre. The lure of Europe, particularly Paris, drew King to discover its painters and museums. By 1905, King was in the City of Light and then on to study in Italy and Holland. Despite his instruction under obscure Dutch tonalists, King’s palette became higher in key and his pigment was more spontaneously applied in juxtaposed dashes of broken color. Eventually the surfaces of his canvases became colorful planes of scintillating texture. Perhaps King would have seen the groundbreaking Salon d’Automne* in Paris, where the Fauves* were “unleashed” on the art world, introducing an entirely new use of boldly applied, raw color and highly simplified forms but such an expressionistic, conceptual use of color went beyond the naturalism that interested King.

Upon his return to America in 1906, King was doubly honored by the Salmagundi Club when he was awarded both the Shaw Prize and the Inness Prize. From his studio at 10 South 18th Street in Philadelphia, King submitted work to various national exhibitions such as the Art Institute of Chicago, the Pennsylvania Academy of the Fine Arts (1903-38), and the Corcoran Gallery (1907-21). He also exhibited at the Carnegie Internationals (1903-21). At the Panama-Pacific International Exposition in 1915, his powerful work entitled Winter won him a silver medal, and three years later, he was named as Associate to the National Academy of Design. King was active with Casson Galleries and the Woodward Art Gallery, both in Boston. The Archives of American Art has the correspondence between King and these gallery directors.

Many of King’s rural landscapes include the motif of workhorses and although their movement is graceful, these are not the lithe race or carriage horses of Degas, but rather the American counterpart of Jean-Baptiste Millet’s dignified farm animals. Paintings such as The Old Farm and Hauling Logs reveal not only the artist’s fondness for traditional American genre but also the lingering influence of the earlier Barbizon School. King executed numerous winter scenes, many of which were painted on the coasts of Maine and Nova Scotia. In a discussion of King’s Early Winter, which received the First Altman Prize, Edward Hale Brush (1924) described the scene as “characteristically American, a river, a bridge, a village blanketed under snow, and a sort of feeling everywhere that more snow is coming.” King was also known for his marines, and in these he was accomplished in presenting the effects of moisture-laden atmosphere. In a New York Evening Post review of King’s first one-man show at the Ferargil Galleries in 1923, an unidentified critic observed how, “the broad handling of his themes gives vigor to the simplicity of his composition, but there is also a swift revelation of unexpected depth, a subtle emotional value that gives a particular richness and charm to these canvases.”

The artist opened a summer studio at Stony Brook on Long Island and painted there for many years. In 1928, he was awarded the Isidor Prize from the Salmagundi Club and five years later he was named full academician at the NAD. Although his once highly regarded impressionism came to be eclipsed by more modern imagery, the artist continued to paint throughout the 1930s and early 1940s — as late as 1937 King received a bronze medal from the staid National Arts Club. He died in New York City, on November 25, 1947 at the age of the age of 80, when living artists as diverse as Picasso, Charles Burchfield, Chaim Gross, and Joe Jones all had one-man shows in various New York galleries.

Sources:
Brush, Edward Hale, “The Art of Paul King, A.N.N.,” American Magazine of Art 15 (February 1924): 59-63; American Painters of the Impressionist Period Rediscovered. Waterville, ME: Colby College Press, 1975, p. 77; Zellman, Michael David, 300 Years of American Art. Secacus, NJ: Wellfleet Press, 1987, p. 607.

Artist Profile Page: King, Paul / Categories: Landscape

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Ernest Fiene (1894-1965)

Medium: Oil on canvas
Image Size: 25” x 32”
Frame Size: 27” x 34”
Signature: Signed lower right
Price: $9500

Biography/Statement

A fixture on the faculty of the Art Students League, he was also a prolific artist with a body of work spanning many media, from etchings to frescoes.

A teacher and artist, Ernest Fiene created works in many media but was noted primarily for his landscapes of American scenes. He also did portraits, etchings, lithographs, murals and book illustrations. Unlike many of his contemporaries, he refused to isolate technique from subject matter, and incorporated his interest in human life and his optimism about humanity into his paintings.

He was born in Elberfeld, Germany, came to the United States in 1912, and was naturalized by 1927. He studied at the National Academy of Design from 1914 to 1918, at the Beaux-Arts Institute of Design from 1916 to 1918, and was also at the Art Students League and in Paris at the Academie de la Grande Chaumiere.

From 1938 to 1964, he taught at the Art Students League and was also a member of the supervising faculty of the Famous Artists School in Westbury, Connecticut.

Artist Profile Page: Fiene, Ernest / Categories: Landscape

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Dennis Sheehan (1950-) Contemporary, American

The Golden Hour

Medium: Oil on canvas
Image Size: 9” x 12”
Frame Size: 17.5” x 20.5”
Signature: Signed lower left
Price: $1800

Biography/Statement

Dennis Sheehan, born in Boston in 1950, is a member of the Guild of Boston Artists. His work is in major public and private collections., including the White House. Sheehan paints in the Barbizon mode with remarkable authority and faithful adherence to his 19th century precursors. In the tradition of the Tonalist painters, Sheehan creates landscapes of mood, affected by nature’s changing seasons.

“Today, in a cultural firmament that has been defined as Postmodern, a new generation of American painters is returning to the old landscape seeking a renewed vision. The cultural strategies that they employ are as diverse as any from the past; in most cases, these painters consciously strive to enter into a dialogue with the history of the White Mountains art. Their work, grounded in a sophisticated appreciation of what has come before, is in many cases deliberately discursive with a tradition that has been all but erased twice by historical and cultural forces.”

The contemporary work of Dennis Sheehan, for example, affords a great nineteenth-century-predecessor George Inness. Like Inness, whose influence is consciously acknowledged, Sheehan employs the dark palette and thickly pigmented surfaces of the French Barbizon School*. Maintaining a muted tonalist chromatic scheme, Sheehan, like Inness before him, has temerity to eschew picturesque scenery-his Conway Meadows avoids any reference to the traditional climax view of Mount Washington—in the interest of evoking atmospherics* and the appearance of the natural world as it is observed.

Optical truth combined with poetic resonance—the search for some ineffable quality of nature beyond words -constitutes the probity of his art. Yet, also like Inness, Sheehan’s paintings are produced in the studio. His work is the product of the conscious distillation of prior imagery ranging from the American Barbizon to the abstractions of Franz Kline. For all of the references to history—and there are multiple—there is no mistaking the artist’s debt to the more recent past. Without the legacy of action painting, Sheehan’s art would be less forceful and evocative than it is.”

Source: Guild of Boston Artists

“My goal is to have the painting emanate light, rather than be just a surface that records the reflections of light. This is why the shadow areas are important, for it is from them that this emanation proceeds. The light areas are focal points of this effort, but the power comes from the shadows.” – Dennis Sheehan

Artist Profile Page: Sheehan, Dennis / Categories: Landscape

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Daniel Hauben (1956-) Contemporary,

A view of a Bronx community garden

Medium: Oil on canvas
Image Size: 30” x 44”
Signature: Signed lower right
Price: $8500

Biography/Statement

Born and raised in the Bronx, Daniel Hauben is acclaimed as the borough’s most versatile and prolific painter. Working in both oil paint and chalk pastel, he has spent 35 years capturing the life of the Bronx on canvas or paper, setting up his easel en plein air on street corners and overpasses, under elevated subway trains or in playgrounds. “I’m a landscape painter,” he says. “It just so happens that the landscape I paint is encrusted with the Bronx.”

His work captures the play of light and shadow in the urban environment: the patterns cast on the street by the elevated train trestles, the windows of apartment buildings gilded at sunset, the sharp white heat of a sidewalk in high summer, or the deeply shadowed canyons between tall buildings on late autumn afternoons.

From the warm glow of an autumnal Virginia dusk captured in delicate pastel, to the bright afternoon light glancing off tall city buildings, to the gritty layers of textured oil paint carved out to portray shadowed, crumbling urban structures, Hauben is able to capture and express light as a life force. His art brings home to us what it means to live in this world in both a natural – and an urban environment – and it reminds us that there is beauty and fragility in both.

An avid traveler, Hauben has journeyed far afield, carrying his painting supplies and easel with him. “There is no better way to learn about a new place than to set up your easel on a corner and paint life as it revolves around you,” he says. Hauben has painted in Spain, Italy, Germany, Denmark, Austria, Slovenia, Croatia, Hungary, France, Southern India and Costa Rica, as well as New York, Connecticut, Massachusetts, Maine, Virginia and California.

Artist Profile Page: Hauben, Daniel / Categories: Landscape

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Ernest Marten Hennings (1886-1956)

Medium: Oil on canvas
Image Size: 10” x 14”
Frame Size: 16” x 20”
Signature: Signed lower right
Price: $7500

Biography/Statement

Born in Pennsgrove, New Jersey and raised in Chicago by German immigrant parents, Ernest Hennings became a highly recognized painter of western subjects, particularly of Indians of New Mexico where he joined The Taos Society of Artists.

Of his painting, it was written: “He was most successful in unifying the human figure with a sunshine-filled, happy, natural setting.” (Zellman 808). The last project of the artist before his death in 1956, was a series of paintings at the Navajo Reservation in Ganado for a Santa Fe Railroad calendar.
When he was young, his family moved to Chicago, and for five years, he studied at the Art Institute of Chicago from which he graduated with honors. After working six years as a commercial artist, he enrolled in 1912 at the Munich Academy in Germany where he learned to paint in the style of academic realism. Walter Thor, a portrait artist, was one of his highly influential teachers, and he emphasized the need of the artist to enter the soul of their subjects. Hennings also studied with Franz von Stuck, a proponent of classical theories of beauty, patterning, craftsmanship and drafting.

At that time pre-war Munich was one of the most exciting cultural centers in Europe, and the battles between classical academy art and “Jugendstil,” a German Art Nouveau movement were in full swing. Hennings remained somewhat open to the latter theories, thinking it best to be open to a variety of influences and then settling on one’s own style. In Munich, he also became friends with artists Walter Ufer and Victor Higgins.

In 1915, at the beginning of World War I, he returned to Chicago as a commercial artist and muralist who tended to paint with thick, broad brush strokes and darkened palette of the Munich School. But he also reflected the waving, sinuous lines of “Jugendstil” painters.

In 1917, Carter Harrison, a wealthy patron and former Mayor of Chicago, and Oscar Mayer, Harrison’s partner in an art-buying ventures, sponsored Hennings on a trip to Taos, New Mexico, a life-changing venture for Hennings. Three years earlier Harrison had done the same for several other artists including Ufer and Higgins. In 1921, Hennings became a full time resident of Taos, having had a successful one-man exhibition in Chicago at Marshall Field and Company. At that event, Hennings met his future wife, Helen Otte, and upon marrying the coupled traveled in Europe for sixteen months.

In 1924, Hennings joined his friends Ufer and Higgins as a member of The Taos Society of Artists, whose purpose was to generate sales of their art work. Ufer and Higgins had been members for several years.

For the remainder of his career, Hennings was devoted to painting the West including commissioned portraits of Navajo Indians for the Santa Fe Railroad. However, his primary subjects were the New Mexico Indians, which he portrayed as dignified heroic people. His technique was to paint the background first and then put figures in various positions to determine which was the most successful composition. He worked on several canvasses at once and disavowed modernist avant-garde movements. The bright colors of his paintings have remained intact because he applied his oil paints thinly and allowed long periods of drying before applying varnish. This method has prevented yellowing and cracking.

Few of his paintings are dated. His wife, Helen Otte Hennings, kept a meticulous record, but when she moved from Taos to Chicago in 1979, it was lost, and no copy has ever been found.

Source:
Michael David Zellman, 300 Years of American Art
Dean Porter, Taos Artists and Their Patrons
Robert R. White, New Mexico scholar and writer about Taos artists, Information sent to AskART
Docent Files, Phoenix Art Museum

Written by Lonnie Pierson Dunbier

Artist Profile Page: Hennings, Ernest Martin / Categories: Landscape

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Erik Koeppel (1980-) Contemporary, American

Medium: Oil on board
Image Size: 16” x 12”
Frame Size: 22” x 18”
Signature: Signed lower right
Price: $4200

Biography/Statement

Erik Koeppel (b.1980) was born in Oregon, and spent his childhood moving with his family through many of the most beautiful landscapes of North America from the Rocky Mountains, to Southern California, to the Appalachian Range. At the age of ten, he settled in the White Mountains of New Hampshire, where he drew obsessively from nature, and began to develop a love for the expressive potentials of traditional representation. Erik received his formal training from the Rhode Island School of Design followed by the New York Academy of Art, and an annual apprenticeship in Wiscasset, Maine with his professor and friend, Seaver Leslie. After copying extensively from the Italian Masters, he developed a body of work that has been exhibited and collected internationally, and represented across the United States. Koeppel’s mastery of traditional techniques has led him to become one of very few young contemporary artists whose work is regularly exhibited with historic masters of the 19th and early 20th Centuries. He has hung beside Thomas Cole, Winslow Homer, Edgar Degas, John Frederick Kensett, and George Inness, and has had the distinguished honor of entering numerous collections including artists of this caliber. American Artist, PleinAir Magazine, The American Art Review, and other respected publications have covered his progress.

EDUCATION:

2004 New York Academy of Art. Master of Fine Arts in Painting
2002 Rhode Island School of Design. Bachelor of Fine Arts
1999-2004 Painter/Professor Seaver Leslie of RISD, Apprenticeship

EXHIBITIONS:

~ “Reflecting the Real” Rehs Galleries, New York, NY
~ “Personal Favorites” Musem of White Mountain Art, Jackson, NH
~ “Erik Koeppel and Lauren Sansaricq” at The Art Place, Wolfeboro, NH
~ “Plein Air Rockies 2015” Cultural Arts Council of Estes Park, CO
~ “Secluded Glens and Noble Landscapes: Traditional White Mountain Art
~ Recaptured.” The Museums of the Bethel Historical Society, Bethel, ME
~ “History Meets the Arts” Lorde Nelson Gallery, Gettysburg, PA
~ “Treasured Places, Protected Spaces” Cheshire Historical, Keene, NH
~ “Members Exhibit” Guild of Boston Artists, Boston, MA
~ Palm Beach Jewelry, Art, and Antique Show McColl Art, Palm Beach, FL
~ Naples Art and Antiques Show with Rehs Galleries, Naples, FL
~ L.A. Art Show with Rehs Galleries and McColl Fine Art, Los Angeles, CA
~ Dallas International Art and Antuques Fair” with Rehs Galleries, Dallas, TX
~12th Annual White Mountain Art Show and Sale, Jackson Museum
~ Baltimore Summer Antiques Show, with Rehs Galleries, Baltimore, MD
~ “The Glory of the White Mountains: ErikKoeppel and Lauren Sansaricq
~ Newport Antiques Show, with Rehs Galleries, Newport, RI
~ Benefit Auction, The Thomas Cole House National Historic Site, Catskill, NY
~ Armory Spring Show, Park Avenue Armory, New York, NY
~ Avenue Show, with Rehs Galleries, New York, NY
~ Affordable Art Fair, with Rehs Galleries, New York, NY
~ Palm Beach Art and Antique Show McColl Fine Art Palm Beach, FL
~ Naples Art and Antiques Show with Rehs Galleries, Naples, FL
~ Merchandise Mart International Antiques Fair with Rehs Galleries, Chicago
~ L.A. Art Show with Rehs Galleries and McColl Fine Art, Los Angeles, CA
~ Dallas International Art and Antuques Fair” with Rehs Galleries, Dallas, TX
~ “Paysages, Erik Koeppel and Lauren Sansaricq,” Liaucous, France
~ “The New Hudson River School” Mark Gruber Gallery, New Paltz, NY
~ “Across this Great Land” Balcony House Gallery, Dallas TX
~ 11th Annual White Mountain Art Show and Sale, Jackson Museum, NH
~ Affordable Art Fair, with Rehs Galleries, New York, NY
~ Aspen Fine Art Fair, with McColl Fine Art, Aspen, CO
~ Baltimore Summer Antiques Show, with Rehs Galleries, Baltimore, MD
~ Newport Antiques Show, with Rehs Galleries, Newport, RI
~ Benefit Auction, The Thomas Cole House National Historic Site, Catskill, NY
~ Armory Spring Show, Park Avenue Armory, New York, NY
~ “Marine Art” The New Hampshire Antiques Coop Milford, NH
~ Merchandise Mart International Antiques Fair with Rehs Galleries, Chicago
~ L.A. Art Show with Rehs Galleries Los Angeles, CA
~ Palm Beach Jewelry, Art, and Antique Show McColl Fine Art, Palm Beach
~ Naples Art, Antique, and Jewelry Show with Rehs Galleries, Naples, FL
~ Theta Charity Antiques Show with McColl Fine Art Houston, TX
~ Dallas Art, Antique, and Jewelry Show with Rehs Galleries Dallas, TX
~ “White Mountain Art Show and Sale” Museum of White Mountain Art
~ 2nd Annual Plein Air Competition Exhibition, Sagamore Hill, NY
~ “Classical Contemporary” at McColl Fine Art, Charlotte, NC
~ “International Antiques Fair” with McColl Fine Art, Chicago, IL
~ “Landscapes” Wally Findlay Gallery, NY
~ “Hudson River School and White Mountain Art,” Milford, NH
~ “Hudson Valley Contemporary” at Boscobel House Museum, Garrison, NY
~ “Winter Wonderland” at Wally Findlay Gallery, New York, NY
~ “Summer Exhibition” The Banks Gallery Portsmouth, NH
~ “White Mountain Art” Jackson Historical Society, Jackson, NH
~ “ARC Salon 2011” Landscape Finalist
~ “Erik Koeppel: The American Landscape” at Wally Findlay Gallery
~ “White Mountain Art” Jackson Historical Society in Jackson, NH
~ “Winter Scenes” at Wally Findlay Gallery in New York, NY
~ “ARC Salon 2010” Landscape finalist
~ “Take Home a Nude Auction” at Sotheby’s New York, NY
~ “Institute of Classical Architecture and a Classical Benefit Auction” NYC
~ “Works on Paper” at Wally Findlay Gallery in New York, NY
~ “Fete de Swifty” Mayor Fund Benefit in New York, NY
~ “The Hampton Designer Showcase” with Bradley Thiergartner Interiors
~ “Art for the Young Collector” at Wally Findlay Gallery in Palm Beach, FL
~ “Summer Selections” at Wally Findlay Gallery in Palm Beach, FL
~ “ARC Salon 2009” Landscape finalist
~ “Erik Koeppel Artist Talk” at Wally Findlay Gallery in New York, NY
~ “Elegant Realism” at Wally Findlay Gallery in New York, NY
~ “Small Wonders” at Wally Findlay Gallery in New York, NY
~ “Contemporary Works” at Wally Findlay Gallery in New York, NY
~ “Art Hamptons” with Wally Findlay Gallery in Bridgehampton, NY
~ “Summer Salon” at the NYAA in New York, NY
~ “Take Home a Nude Auction” at Phillips de Pury & Company in New York
~ “Singular Creation” at Wally Findlay Gallery in New York, NY
~ “Color Sense” at Wally Findlay Gallery in Palm Beach, FL
~ “Art for the Young Collector” at Wally Findlay Gallery in New York, NY
~ “30th Annual Non-members Exhibition” at the Salmagundi Club, NYC
~ “Summer Landscapes” Group Show at the Jameson Gallery in Portland, ME
~ Paul Toner’s Showcase, in New York, NY
~ “Summer Exhibition” at Jameson Gallery in Portland, ME December
~ “Invitational Landscape Exhibition” at Jameson Gallery in Portland, ME
~ “Open Painting Exhibition” at the Providence Art Club in Providence, RI
~ “Master Thesis Exhibition” at NYAA in New York, NY
~ “What’s your point?” Metal-point Drawing Exhibition at NYAA in New York
~ “Hatching, the Art of Mark Making” at NYAA in New York, NY
~ “New England Exhibition” at the Cape Cod Art Association, Barnstable, MA
~ “RISD Senior Class Invitational Exhibition” in Providence, RI
~ “Five Person Show” at the ISB Gallery in Providence, RI.
~ “RISD Departmental Senior Show” at the Woods-Gerry Gallery, Providence

HONORS AND AWARDS:

2015 Plein Air Rockies 2015: 1st Place Quick Draw, Mayor of Estes Park
Award, People’s Choice Award, and Artist’s Choice Award. Estes Park, CO
Alden Bryan Memorial Award for Landscape, The Guild of Boston Artists
Accepted to the Guild of Boston Artists, Boston, MA
2014 American Fine Arts Award of Excellence, Art Renewal Center Salon
2013 2nd Prize Art Renewal Center Salon, Landscape, Port Reading, NJ
2012 Art Renewal Center Living Master, Port Reading, NJ
Judge, Teaching Studio of Art 2nd Annual Plein Air Competition, Sagamore Hill, NY
Hudson River Fellowship, Senior Fellow, Hunter, NY 2010-12
Art Renewal Center Salon Landscape finalist 2009, 2010, and 2011
Hudson River Fellowship: one month residency in Hunter, NY 2009

REPRESENTATION:

Rehs Galleries, New York, NY 2012-16
The Guild of Boston Artists, Boston MA 2015-16
Hildt Galleries, Chicago, IL 2013-16
McColl Fine Art, Charlotte, NC 2012-16
New Hampshire Antiques Co-op, Milford, NH 2012-16
Wally Findlay Gallery New York, Palm Beach, L.A. 2007-12
The Banks Gallery, Portsmouth, NH 2010-12
Jameson Gallery in Portland, ME 2006-07

STATEMENT:

In the act of painting, I have sought to discover that highest knowledge of Beauty, poetic and philosophical, that has been the common thread between all of the Great Masters of Art. I have spent hours staring at the finest masterpieces in museums worldwide in an effort to decipher that meditative effect that distinguishes greatness from proficiency, and have made the creation of that sentiment my central goal as an artist. Following this path has led me to study deeply the sciences of philosophy, design, linear perspective, anatomy, color, optics, architecture, botany, light and atmosphere with respect to their purposes in art, and I have built a foundation of consistent formal principles that work in harmony to illuminate meaning in painting. As my subject, I have chosen the universal human condition in this world, and have sought wherever possible to discard the sociopolitical fashions of contemporary culture in favor of those enduring sentiments that we all encounter in life. It is my belief that to experience the Beauty of our existence here in this magnificent landscape is the only way to happiness. My intention as an artist is to share that Beauty.

Artist Profile Page: Koeppel, Erik / Categories: Landscape

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Koeppel, Erik

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King, Paul

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Koeppel, Erik

Krawczyk, Casey

Kuehne, Max

Loveridge, Clinton

Mayer, Peter Bela

Murphy, John Francis

Orlyk, Harry

Peiffer, Adam

Podlodowski, Jakub

Sansariq, Lauren

Schreyer, Adolf

Shearer, Christopher

Sheehan, Dennis

Tate, Gayle Blair

Walton, William

Witucki, Sean

Wojdakowski, Joe

Landscape, Moonlight

William Keith (1838-1911)

The Oaks By Moonlight, California

Medium: Oil on canvas
Image Size: 23” x 28”
Frame Size: 31” x 36”
Signature: Signed lower right
Price: $9500

Biography/Statement

Born in Aberdeen, Scotland on Nov. 21, 1838. In 1850 Keith immigrated with his family to New York where, as a teenager, he was apprenticed to a wood engraver. He is believed to have come to San Francisco for two months in 1858 as an employee of Harper Brothers publishers. Following this assignment, he visited Scotland and worked in England for the London Daily News. Having saved enough money, he returned to San Francisco in 1859 and opted to remain. He went to work in the engraving shop of Harrison Eastman and later established his own engraving business with Durbin Van Vleck at 611 Clay Street. Keith became interested in painting and first studied with Samuel Brookes in 1863. The following year he married artist Elizabeth Emerson and, under her tutelage, began painting in watercolor. In 1868 he gave up engraving to devote full time to painting. The following year the Keiths were in Düsseldorf where he studied with Flamm and Achenbach. After visiting the galleries and museums of Dresden and Paris, they returned to the U.S. and had a studio in Boston which they shared with artist Wm Hahn. Upon returning to San Francisco in 1872, he joined the Bohemian Club and began exhibiting. Keith met naturalist John Muir who took him into the most remote parts of Yosemite, taught him the names of the trees and plants, and thoroughly acquainted him with nature’s wonders. Keith’s wife died in 1882, and one year later he married Mary McHenry who was the first woman to graduate from Hastings Law School. In 1883 Keith made his second trip to Europe to study portraiture with Carl Marr in Munich for three years. Shortly after returning to California, the Keiths moved to Berkeley into a home at 2207 Atherton where Keith was to live until his demise on April 13, 1911. His oeuvre can be divided into two periods: his early works are often mountain epics in descriptive realism as espoused by the Düsseldorf School; whereas, the paintings done during the last two decades of his life are more closely akin to those of the Barbizon painters. His later paintings are darker, smaller and more intimate with emphasis on mood. Keith commuted daily by ferry to his San Francisco studio and many of his later works are pastoral landscapes of Berkeley with oak trees, cows, and ponds which he sketched en route. He painted nearly 4,000 oil paintings of which 2,000 burned in the fire of 1906. (In an effort to recoup his losses Keith turned out hundreds of potboilers in his last five years.) The women artists who studied under Keith are many; he seldom took male pupils. His style was copied by several artists and there are forgeries in existence. He has been called “Dean of California Artists” and “California’s Old Master.”

Honors accorded Keith include an entire room devoted to his work at the PPIE of 1915; the Keith Gallery was opened in 1934 at St Mary’s College in Moraga; and in 1956 the William Keith Memorial Gallery opened at the Oakland Public Library. Streets in Oakland and Berkeley are named for him. Exh: Calif. State Fair, 1872-94 (medals); San Francisco Art Association, 1872-1911; Mechanics’ Inst. (SF), 1874-1911 (medals); NAD, 1882; World’s Columbian Expo (Chicago), 1893; Calif. Midwinter Expo, 1894; London, 1897 (solo); Pan-American Expo (Buffalo), 1901 (bronze medal); Lewis & Clark Expo (Portland), 1905; Del Monte Art Gallery, 1907-12; Alaska-Yukon Expo (Seattle), 1909 (gold medal). In: LACMA; CHS; CGA; MM; Nevada Museum (Reno); Crocker Museum (Sacramento); AIC; Oakland Museum; Southwest Museum (LA); NMAA; Mills College (Oakland); UC Berkeley; Stanford Univ.; Boston Museum; Bohemian Club; De Young Museum; Calif. State Capitol; Cleveland Museum; Carnegie Inst.; Brooklyn Museum; Orange Co. (CA) Museum; Jonathan Club (LA).

Artist Profile Page: Keith, William / Categories: Landscape, Moonlight

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Landscape

Dennis Sheehan (1950-) Contemporary, American

Summer Landscape

Medium: Oil on canvas
Image Size: 24” x 30”
Frame Size: 34” x 40”
Signature: Signed lower right
Price: $3800

Biography/Statement

Source: Guild of Boston Artists

“My goal is to have the painting emanate light, rather than be just a surface that records the reflections of light. This is why the shadow areas are important, for it is from them that this emanation proceeds. The light areas are focal points of this effort, but the power comes from the shadows.” – Dennis Sheehan

Artist Profile Page: Sheehan, Dennis / Categories: Landscape

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