Archive for openings

‘Art Matters’ exhibit by the Mid-Coast Salon on display at the UMaine Hutchinson Center

Harold Garde, “Tell a Story”

The Mid-Coast Salon exhibit “Art Matters” opens Aug. 4 at the H. Allen and Sally Fernald Art Gallery at the University of Maine Hutchinson Center in Belfast. The show, on display through September, is free and open to the public from 8 a.m. to 4:30 p.m. Monday through Friday.

A free public reception for the show will be held from 5:30 to 7:30 p.m. Aug. 11.

Mid-Coast Salon is a monthly discussion group of two dozen accomplished artists brought together by their love for and commitment to art. In this exhibit, 16 artists will present 54 diverse works of drawing, painting, photography, pottery and flex-forms. Participants include nationally known Belfast painter Harold Garde, now in his 99th year. Garde’s painting “Tell a Story” is one of the few he’s done “where it felt appropriate to incorporate words.”

A significant component of the show is a collection of statements by the artists on why art matters.

“Artists are often at the forefront of progress, showing us something we otherwise wouldn’t experience,” says David Estey, painter and founder of Mid-Coast Salon.

Kerstin Engman, “Marsh Frankfort Dusk September”

Kerstin Engman, who teaches art at the University of Maine, says that most human-made things exist because of a skilled, trained artist or artisan. With his mixed-media pieces, Greg Mason Burns makes the point that artists matter in bringing us their personal backgrounds and attachments. 

Several artists interpret society, like Lesia Sochor’s “repair” series, Leslie Woods’ Black history paintings and Liv Kristin Robinson’s landscape photographs, where stillness is a metaphor for the pandemic. Carol Sloane’s figure drawings tremble uncertainly around fragile spaces. Jack Silverio, Bob Richardson, Frederick Kuhn and Michael Corden mesmerize us with paradox through seeming simplicity. Kenny Cole offers three new political works and former Camden-Rockport teacher Russell Kahn adds sgraffito pottery. The paintings of UMaine professor Ed Nadeau and New York’s Andrea Assael encourage us to contemplate and interpret their open narratives.

This show, which was first exhibited in July at the UMVA Gallery at Portland Media Center, will be on display in midcoast Maine at the H. Allen and Sally Fernald Gallery at the UMaine Hutchinson Center, 80 Belmont Ave., in Belfast from Aug. 4 through Sept. 30.

For information or to request an accommodation, contact Abby Spooner at hutchinsoncenter@maine.edu.

‘Sara Weeks Peabody: A Life in Line and Color’ at the Northeast Harbor Library

Sara Peabody with one of her painted screens at the Boston Atheneum, circa 1975.

“Sara Weeks Peabody: A Life in Line and Color” opens at the Northeast Harbor Library on Aug. 2, and runs through the month. A reception is planned for 5 to 7 p.m. Aug. 3.

The exhibition features oils, watercolors (some painted on silk), monotypes and drawings, as well as two gilded and painted folding screens. Many landscapes of Mount Desert Island and Corea are on view, along with images of Boston, Turkey and Antarctica.

“Peabody drew on all her artistic wherewithal to explore her sense of place, from Little Long Pond to the land of icebergs,” says art writer Carl Little, who helped organize the exhibition.

Peabody was born in Boston in 1926. Her father, Edward Weeks, was editor of the Atlantic Monthly. She took her first life-drawing class at age 11 with sculptor George Demetrios and later studied at the Skowhegan School of Painting and Sculpture (in 1946, its first year) and the Cranbrook Academy of Art. 

Curious about the tradition of folding Japanese screens, Peabody learned the techniques of construction and gold and silver leaf application from Yasuhiro Iguchi in the conservation department at the Boston Museum of Fine Arts.

“Thunderstorm, Northeast Harbor 2,” by Sara Peabody.

Peabody majored in painting at Sarah Lawrence. She went on to become an art teacher, assistant book editor at Houghton Mifflin, editor of the magazine Current Design, and research assistant at the Addison Gallery of American Art. She published a children’s book, Tales of a Common Pigeon, in 1960.

Peabody had solo shows at the Episcopal Divinity School in Cambridge, the Boston athenaeum, Pine Manor College, and the Peabody Essex Museum. She exhibited in Maine at Sam Shaw, Wingspread, Judith Leighton, and Wini Smart galleries as well as at the Northeast Harbor, Seal Harbor and Ellsworth libraries and the Ethel Blum Gallery at College of the Atlantic. Her large-scale painting of Mount Desert Island has greeted Northeast Harbor Library visitors for many years.

The Northeast Harbor Library is open from 9 a.m. to 6 p.m. Monday through Friday and 9 a.m. to 5 p.m. Saturday. For more information, call 276-3333. 

Neal Hughes and Crista Pisano: Interpreting Landscapes – Two Points of View

“May Marsh,” by Crista Pisano.

 Sylvan Gallery offers a special exhibit featuring the oil paintings of Neal Hughes and Crista Pisano, two renowned artists represented by the gallery whose camaraderie grew after participating in many shared plein air competitions up and down the east coast.

The exhibit opens on July 29, from 5 to 8 p.m., coinciding with the evening of the Wiscasset Art Walk. The exhibition continues through Aug. 22.

In addition to being juried into many of the most prestigious plein air art competitions in the country, Hughes and Pisano share a deep admiration for one another’s work and a lifetime of dedication to the craft of painting. Each has their own distinctive style and ability to capture the light and moods of nature which have earned them many accolades over their painting careers, and each has a different perspective in choosing the subject of their painting. Hughes’ preference is to compose a painting where the main subject matter lies close-up to the viewer or in the middle-distance, and Pisano enjoys focusing on the distant or long view of a scene and scaling it down to a much smaller canvas size.

“Dreamboat Nocturne,” by Neal Hughes.

Hughes is former illustrator and has been painting professionally for more than 30 years. He is at home painting a wide variety of subject matter: historic New England architecture and gardens, windjammers, boatyards, meadows, woodland streams and even the dry climate of the Texas landscape. His many awards are indicative of his love and ability to connect with the environment and translate it to canvas. He has a special affinity for the water and many of his paintings focus on coastal subject matter.

The subject of his most highly awarded painting in the exhibition was discovered when he was in Gloucester, Massachusetts, looking for subjects to paint as the sun was going down. When he came across a classic wooden boat on the working dock, he quickly realized it would make a great nocturne painting. “Dreamboat Nocturne” is a beautiful example of his ability to combine his remarkable drawing skills with a painterly approach to arrive at an almost dream-like feel to the painting. The boat is illuminated by an unseen light source and the surrounding docks and buildings have an almost inner glow contrasted against the darkness of the water and sky. The painting won “Best Associate Award of Excellence” at the Oil Painters of America National Exhibition and a “First Place” and “Artists Choice Awards” at the Cape Ann Plein Air Festival.

 Another Hughes painting in the exhibition, “Farmhouse Evening,” depicts the beautiful color harmonies and light of an autumn day. Hughes is masterful at intermingling the warmness of the late October sun as it glances across the white clapboards of the old rural farmhouse, with the silvery blue and violet tones of shadows cast from an old maple tree. The layers of paint are very textural, combining both brush and palette knife work. Rich impressionistic dashes of gold suggest lingering fall leaves. Dappled sunlight rakes across the green and russet tones of the yard. There is a fine balance of lights and darks and a feeling of poetry to this painting as Hughes captures the intrinsic quality of the scene.

Additional paintings by Neal Hughes include a view of the iconic Kuerner’s farm in Chadds Ford, Pennsylvania, made famous by Andrew Wyeth, Port Clyde and Monhegan Island subject matter and seasonal views of woodland streams.

Pisano’s education in oil painting started at the age of 14 when she began studying with John Phillip Osbourne at the Ridgewood Art Institute in Ridgewood, New Jersey. She went on to continue her studies in painting at the Lyme Academy College of Fine Arts, graduating with a Bachelors Degree of Fine Arts in 2000, and in 2003, received a Master’s Degree of Fine Arts Painting from the New York Academy Graduate School of Figurative Art.

Pisano learned early on how vital it was to study outdoors in order to fully understand how to interpret nature. Experiencing and understanding atmospheric changes firsthand has been crucial to her development as a landscape painter.

Pisano prefers to work on a small scale and has become much recognized for her almost miniature-in-size paintings at the plein air competitions, this year winning the “Petite Plein Air, Artists Choice Award” at Olmstead Plein Air Invitational in Atlanta, Georgia. She usually prefers to focus on distant views, and many gallery visitors have made the observation that there is as much going on in her small painting as what one usually sees in a much larger-sized work. Pisano usually strikes a quiet and peaceful chord in her paintings. She is extremely observant and will capture an odd turn to a tree branch or carefully render the specific outline of a rocky outcrop silhouetted against water.

In “May Marsh,” individually studied trees are in proportion to the distant horizon. Softly modeled clouds reflect the orange glow from the sun and create a beautiful pattern in the cyan sky. The marsh grasses have neutralized tones of these same colors creating a beautiful harmony to the whole painting.

“Grass Patterns” is another painting where distance is informed by the scale of the delicately handled trees. Dots and dashes of a deepened red at the horizon provide a beautiful contrast to the green pastures. There is a very subtle transition of light and color moving across the sky and land. It is a beautifully composed painting with fine detail that doesn’t take away from the scene’s essence but adds even more interest.

Pisano’s “Winter Midnight Magic,” is a vertical painting with beautiful earth tone colors. The subject is a close-up view of pine trees. Subtle textures are created not by blending but by weaving brushstrokes in and out of trees so that the winter atmosphere is interwoven into the branches of the pines. Subtle scraping and palette knife work adds additional texture. The layering of paint has an almost stained glass effect. It’s a work that one will want to observe close-up as more nuances of color and brushwork become revealed. Her other paintings in the exhibit include river view nocturnes, three paintings from a plein air event in Castine, and a painting titled “Dog Beach” that won an Honorable Mention at the Long Beach Island Foundation Plein Air 2020 Exhibition.

Both Hughes and Pisano were juried into Plein Air Easton 2021, arguably the largest and most prestigious outdoor painting competition in the United States. They will return to Maine during the week leading up to the Wiscasset Art Walk on July 29. From 5 to 8 p.m. visitors will find the artists in the gallery or painting nearby and there may be fresh new work just off the easel. A selection of work by the gallery’s other contemporary artists will also be on display.

For more information, call Ann Scanlan at 882-8290 or go to www.sylvangallery.com. Also, find Sylvan Gallery on Instagram and Facebook. The gallery is open from 10 a.m. to 5 p.m. Monday through Saturday and 11 a.m. to 4 p.m. Sunday at 49 Water St., Wiscasset, on the corner of Main and Water streets.

‘Near and Far’ solo show by Henry Isaacs at Gleason Fine Art

 

 

Gleason Fine Art presents work by Henry Isaacs in the exhibit “Near and Far,” featuring oil paintings of Maine, Vermont and Nepal.

The show runs from July 1 to Aug. 3, with an opening reception from 5 to 7 p.m. July 2. A show catalog is available.

Isaacs has traveled the world over, painting as he goes, often working on commissions — Europe, Central and South America, all of the Canadian provinces, the Himalayas, and 49 of the states in the United States. Returning to home base, Isaacs and his wife have ping-ponged between the coast of Maine and rural Vermont.

Isaacs paints with energy, passion, and self-assurance. His style — broken brushwork and a palette of delicate blues, greens, pinks, and yellows — marks him as one of the most recognizable artists painting in New England today.

Isaacs’ methodology is as unique as his paintings are. He never works from photographs. Instead, wherever he goes, he totes a backpack loaded with oil paints, brushes, and tiny canvasses and panels. To capture the essence of a spot that takes his eye, he paints what he calls “notes.” Some of these “notes” are just a few brush flicks; others, though small in size, resemble finished paintings. For a large painting, Isaacs might make dozens of these “notes.” For a commission, he makes scores.

Commissions have taken Isaacs to far-flung places — to the Kalahari Desert, for example, and twice to Nepal. Isaacs is only the second career artist to have tackled painting on-site in the Himalayas (the first, Nicolas Roerich, worked nearly one hundred years ago) — a fact that is especially amazing considering that Isaacs turned 70 this spring. Two of Isaacs’ smaller Himalayan paintings, of Ama Dablam Mountain, in the Everest Range, are featured in this catalog. They measure 3 feet by 4 feet. Several even larger paintings of the Himalayas are available at the gallery.

Many reviewers have waxed poetic when writing about Henry Isaacs’ paintings, but perhaps his close friend and former Maine Today Media arts reviewer Dan Kany says it best: “Isaacs balances warm and cool tones brilliantly. His handling of paint owes an unapologetic debt to the chunky boldness of the early Modernists and Fauves. The brushwork is strong and primarily dedicated to pushing the paint around on the canvas — an activity Isaacs clearly enjoys.”

Isaacs will be in attendance for his reception and thrilled to be able to chat in person with his friends and admirers. The artist and gallery owners are all fully vaccinated.

Gleason Fine Art is at 31 Townsend Ave., Boothbay Harbor. Gallery hours are 10 a.m. to 5 p.m. Monday through Saturday and noon to 4 p.m. Sunday. For more information, call Gleason Fine Art at 207-633-6849, email the gallery at info@gleasonfineart.com, or go to www.gleasonfineart.com.

Caldbeck Gallery presents ‘A Spring Into Summer Group Show’

“Big Yellow,” by Liz Awalt.

Caldbeck Gallery presents “A Spring Into Summer Group Show” on exhibit through July 14.

Featured artists include Liz Awalt, Sam Cady, David Dewey, Lois Dodd, Joseph Fiore, Janice Kasper, K. Min, Kayla Mohammadi, Dennis Pinette, David Raymond, Michael Reece and Barbara Sullivan

View the show online at https://mcusercontent.com/c6bdac10295726afaab4a2246/files/ee69a1cd-208a-3ac8-eb5b-ee2d550652c8/A_Spring_into_Summer_2021_ecatalog.pdf.

Caldbeck Gallery is at 12 Elm St., Rockland. June hours are noon to 4 p.m. Wednesday through Friday. July hours are noon to 4 p.m. Tuesday through Friday. For more information, email caldbeck@midcoast.com, go to www.caldbeck.com, or call 207-594-5935.

‘A Walk in the Park’ at D’Alessio Gallery

“A Walk in the Park,” by Russell D’Alessio.

D’Alessio Gallery will present a new show, “A Walk in the Park,” beginning July 2 in the gallery and online.

The show features new work by Russell D’Alessio. The pieces are full of life, textures, colors and expression. Like all of his work, each piece is created with love and passion.

The show runs through July 31. An opening reception will be held from 6 to 9 p.m. July 2. Meet and chat with the artist and hear live music by Leavin’ Tulsa, Jayme Lou Durham and Jim Vekasi. Refreshments will be served.

D’Alessio Gallery is at 12 Mount Desert St., Bar Harbor. Go to www.rdalessioart.com, call 207-351-5450, or email info@rdalessioart.com for more information.

July shows at Studio 53 Fine Art Gallery feature David Estey and Jack Silverio

“Inexplicably Blue,” by David Estey.

Belfast painter David Estey and Lincolnville painter/sculptor Jack Silverio have repeat solo exhibits at Studio 53 with 20 recent paintings and 20 paintings and three sculptures, respectively.

An opening reception will be held from 5 to 7 p.m. July 2, and the show will remain on display through Aug. 1.

Estey’s works are improvisational abstract images in a variety of sizes done in acrylic on canvas, panels or paper mounted on panels. This is his third solo show at Studio 53. He is an award-winning native, with a BFA degree from Rhode Island School of Design as a participant in the Rome Honors Program, a MSA degree from George Washington University, and years of study at Pennsylvania Academy of the Fine Arts. He has exhibited widely in the Mid-Atlantic States, North Carolina and Maine. He has produced over 10,800 pieces of art, some of which are in private and public collections in 20 states and seven countries.

Silverio’s paintings and sculptures are a study in graduated proportions working with the Fibonacci series and the Golden Ratio. This is his second solo show at Studio 53. He also is a graduate of RISD and a participant in the Rome Honors Program. He was a practicing architect for 40 years and now devotes himself entirely to painting and sculpture. He has exhibited widely in universities and galleries throughout Maine. He is the author of three books about architecture and a new book called “Art with Fibonacci — Working with the Golden Ratio.”

The remainder of the three-story gallery will be filled with work by owners Heidi Seidelhuber and Terry Seaman and the other gallery artists.

Studio 53 Fine Art Gallery is at 53 Townsend Ave., Boothbay Harbor. It is open from 11 a.m. to 5 p.m. daily. Call 207-633-2755, email studio53bbh@aol.com, or go to www.studio53fineart.com for more information.

For more information about Estey, visit www.davidestey.com.

For information on Silverio, visit www.silverioartworks.com.

‘Come As You Are’ group exhibit at Cynthia Winings Gallery

Megan Magill, “Perfect Wind.”

“Come As You Are,” a group exhibition, will be on view at Cynthia Winings Gallery through July 17.

An opening reception was held on June 27.

Artists featured in the show include Steve Bartlett, Louise Bourne, Avy Claire, Anna Dibble, Carson Fox, Ingrid Ellison, Elizabeth Gourlay, David Hornung, M P Landis, Buzz Masters, Bill Mayher, Megan Magill, Kellyann Monaghan, Robin Reynolds, Bronwyn Sale, Lari Washburn, Patricia Wheeler, Cynthia Winings and Diane Bowie Zaitlin.

Sculpture is on view in the Sculpture Garden by Ray Carbone, Melita Westerlund and John Wilkinson.

Kerri Kimura and Katherine Perkins, two emerging artists, have been developing a body of paintings together over the past two years in a special project titled “w i n d s h i f t s.” Although they worked independently, their art practice brought them together, expanding their creative language in visual and verbal dialogue.

 

Masks are not required indoors if you are fully vaccinated.

Cynthia Winings Gallery is at 24 Parker Point Road, Blue Hill. Learn more at www.cynthiawiningsgallery.com, or call 917-204-4001 for more information.

New Era Gallery exhibits ‘Early Summer’ 

New Era Gallery’s 20th-year celebration continues with its “Early Summer” show, featuring the work of three artists who have been with the gallery since the beginning: Alison Angel, Jackson Gregory and Susan Day Philbrook. All are year-round members of the island artists community, and the depth, breadth and diversity of their work is a fine testament to this extraordinary group.

The show will run from June 26 to July 13.

Masks will be required for indoor art viewing.

New Era Gallery is at 60 Main St., Vinalhaven. Call 207-863-9351 for more information.

Dowling Walsh Gallery hosts four exhibits in July

“Path to the Bowerbird’s Estate,” by Marilynn Gelfman Karp.

During the month of July, Dowling Walsh Gallery will host four exhibitions: 

“Tessa Greene O’Brien: Floating in the Water Looking up at the Sky,” “Marilynn Gelfman Karp: Sampling the Riff,” “Alan Magee: Grand Illusions” and “Kenneth Noland (1924-2010): Paper as Paint.”

“Floating in the Water Looking up at the Sky”
July 2 to 31

Tessa Greene O’Brien’s Eastport series evolved over the course of the past 18 months, with several visits back to the community. The paintings all depict places in or around Eastport, but the subject matter is more about the artist trying to paint the romance of falling in love with a new place, trying to remember what it looks like when away, and trying to record and savor every detail while there.

“Red Roof,” by Tessa Greene O’Brien.

“Something clicked within me when I first spent time in Eastport, Maine, a tiny in town filled with contrasts,” she says artist Tessa Greene O’Brien. “It is a borderland, with little red buoys marking the thin line between the United States and Canada, and a dramatic tide that highlights the push and pull between ocean and land. The line between nature and humans there is thin, and the border between the past and present feels this was as well.

The landscape was new to me, but it felt familiar, reminding me of the small coastal community that I grew up. I was attracted to the familiarity of a place that was unburdened by actual memories.

The Eastport paintings are about how it feels to lie on your back floating in the water, looking up at the sky, what sunny fields smell like, and the crisp satisfaction of high noon shadows on shingled houses. They are about grief, joy and the failures of memory to satisfy desire. I am using paint and textiles to try to describe the way that places layer over one another in memory, with edges blurred. The paintings are overgrown, spilling over, faded, swirling and scattered, with dappled light & color turning a place into a daydream.” — Tessa Greene O’Brien

“Sampling the Riff”
July 2 to 31

“Things made by human hands (manu-factured) meet naturally occurring components in my studio. I unify them in unexpected ways, often surprising myself at the resulting sculptures. The whole is not the sum of its parts. Ordinary bits become exotic, a new context changes the mundane into the arcane.

To confound things, sometimes a thing that appears to have been plucked from nature can be person-made (I have made bird nests that would fool a bird) and there are naturally occurring phenomena that appear to have been manufactured (consider the sand dollar or a pearl).

As differences between the natural and the manmade become less clear in my works … new frames of reference are invoked. Carefully examined unions and dimensions within may be glimpsed, rife with twinkling potential and unfamiliar gardens bloom.” — Marilynn Gelfman Karp                                                                                                              

“Grand Illusions”
July 2 to 31

“Helmet X,” by Alan Magee.

Alan Magee’s Helmet X, a large painting completed in early 2021, is symbolic of this historic chapter. A hauntingly beautiful elegy to our failed attempts across time to armor our selves against our baser instincts, it sears the mind’s eye. The soft polish of the exquisitely rendered crusader helmet pulls the thread of the ages to the present, its row of rivets suggestive of bullet holes or coffin nails; its beauty seductive. We are all soldiers in life.

 

 

Paper as Paint
July 2 to Aug. 28


“Diagonal Stripes,” by Kenneth Noland.

Dowling Walsh Gallery will present an exhibition of handmade paper by Kenneth Noland (1924 to 2010). Noland, known primarily for his large-scale Color Field paintings, began making art with paper pulp in the late1970s and continued to explore its possibilities well into the 1990s. While he worked with a variety of materials and explored various media throughout his career, Noland found the use of paper pulp as a primary ingredient to be extremely satisfying in the directness of its application and physicality. In contrast to painting on canvas, the precision of papermaking lay in the process — the physical building of colored paper pulp to create a final image, a vehicle to generate depth of surface and ultimately a means explore color relationships in new and unexpected ways.

Dowling Walsh Gallery is at 365 Main St. in Rockland. The gallery is open from 10 a.m. to 5 p.m. Tuesday through Saturday and by appointment on Sundays and Mondays. Visit www.dowlingwalsh.com, or call 207-596-0084 for more information.