Grand Central at 7:30 36×24

Studio #4 44×32

Figures in Red-Purple 36×24

 Cross Quickly 40×30

Figures in Blue-Green 40×30 $17,000

Teresa Oaxaca

Runner up, Best Social Commentary

Finalist, Figurative

Katherine Stone, Visiting Artist

Honorable Mention, Figurative

Finalist, Still Life

David Gluck, Visiting Artist

Honorable Mention, Still Life

Finalist, Figurative

Sadie Valeri, Visiting Artist

Honorable Mention, Still Life

Finalist, Drawing

Michelle Dunaway, Visiting Artist

Finalist, Figurative

Terry Strickland

Finalist, Figurative

Judith Pond Kudlow

Finalist, Still Life

Teresa Fischer

Finalist, Still Life

Alejandro Rosemberg

Finalist, Figurative

Linda Tracy Brandon

Finalist, Figurative

Come check out the talent firsthand in the gallery. Here is a selection of some of their work:

Teresa Oaxaca “Without a Mask” 20×30, oil on canvas

Katherine Stone “Doll” 18×12, oil on panel

David Gluck ”The Meat Grinder” 18×16, oil on linen

Sadie Valeri “Cream Satin Drape” 18×24, oil on canvas

Michelle Dunaway “Transitions of Age” 11×23, oil on canvas

Terry Strickland ”Near the Tannhauser Gate” 14×11, oil on linen on panel

Judith Pond Kudlow ”Scone” 8×10, oil on canvas

Teresa Fischer “Bull’s Eye” 6×18, oil on panel

Alejandro Rosemberg ”Sunday Morning” 22×35.5, oil on canvas

Linda Tracey Brandon “Rachel In My Studio” 30×24, oil on canvas

Anne Callahan, 15-year-old artist and friend of the gallery, painted a new version of Rosie the Riveter as a modern update on the iconic image.  Anne’s homage to Rosie, complete with Army fatigues and a green bandana, celebrates modern women fighting the war effort and acknowledges how far women have come since WWII.  Callahan, a junior at Fontbonne Academy in Milton, MA, completed the painting as a class assignment before US military officials lifted restrictions that prevented women from serving in combat roles. In an interview with Boston Globe’s Robert Knox, Callahan said she is “happy and excited” about the decision to allow women to apply for combat positions. See the full Boston Globe article here.

The iconic image of Rosie the Riveter depicts Rosie in blue coveralls and a polka dot headscarf. Rosie the Riveter was introduced during World War II as part of a publicity campaign in response to wartime labor shortages. Women were encouraged to fill predominately male roles in the workforce while their men were away at war. Rosie the Riveter symbolizes the changing attitudes of the female role during the time period and shows women as capable supporters of the war effort.

We love Anne’s creativity in depicting a historical image.  Well done!

Take a look at other WWII posters of women (maybe Anne can do a whole series!):

Teresa with an antique revolver, one of her recent acquisitions from her travels.

Clint and Jessica recently caught up with Teresa Oaxaca at her studio, following the Grand Tour of Europe that she took late last year.  Teresa served us a wonderful tea, in the most amazing and eclectic spread of fine teacups and teapots.

Among many other things, we discussed her collections of dolls, nutcrackers, and masks– all of which are important inspiration for Teresa, and props for her magnificent paintings.  

Teresa’s collection of nutcrackers  

Her beautiful display of masks

Sketches and work in progress

Teresa also showed us some of her student works from her days at the Angel Academy in Florence, as well as new work in progress.  

Lately, Teresa has been experimenting with thick impasto application of paint.  She shared her techniques with us, and showed us some of the house paint brushes, as well as more traditional brushes she has worked with.  You can read more about her explorations in impasto painting at her blog. 

Clint and Teresa study some of her old work and new paintings.

Teresa will be exhibiting with Principle Gallery in our Spring Still Life Invitational next week.  We are very excited to feature her, as well as many of our other talented artists!  Please come show your support, and stop by to say “Hi” at our opening night of the exhibition- Friday April 12th.  We’ll be here from 6:30 until 9:00 p.m. 

Many more images of Teresa’s work can be found at Principle Gallery’s website linked here.

And if you’d like to read more about Teresa’s process in her own words, please visit her blog.  

Paula Rubino

A magnificent painter using classical techniques, Paula Rubino has demonstrated time and time again her mastery of oil.  Born in Trenton New Jersey, Paula decided to move to Florence where she honed her craft studying under Angel Ramiro Sanchez and at The Florence Academy of Art. After living in Florence for eight years, she decided to return to the states where she settled down and had a son. Paula has generously shared photos of her sources of inspiration while living in Italy!

I left Florence for the first time in 2002, after eight years of study and living.  Ten years later, we decided to return as a family for the 2012-2013 academic year.  My son, Olavi, attends a local school, and my husband and I paint.  A few images to give you an idea! 

Santa Maria di Fiore

The first sight to greet travelers  - Florence’s centerpiece, the Duomo (Santa Maria del Fiore). 

Museo Stibbert

The family  (I am third from left) and friends in front of Museo Stibbert –  a favorite for medieval and armor fans such as my ten year old son!

We quickly discovered Villa Rusciano up the lane from our home.  It was originally a Renaissance country estate and farm which has fallen into some disrepair.  The city uses the building for the parks office and the gardens are open.  I love the slight feeling of overgrown decay in the orchards, and in warmer weather I love painting here.

Villa Rusicano, oil on panel 8 x 13.75 inches

Villa Bardini

Also nearby, Villa Bardini. Its surrounding gardens have been newly restored.  I had never heard of this estate when I lived here before, though it sits on a hill close to the center, with close-up views of the river Arno. 

Rooftop Garden, oil on panel 9 x 11.75 inches

The inspiration here in Florence is endless – the beautiful landscape continually provides…

Lido At Ponte San Niccolo, oil on panel 11.5 x 9 inches

Some of Paula’s figurative work, perhaps influenced by her studies with Odd Nerdrum in Norway!

Sitting Nude in Crimson Hat, oil on panel 8 x 7 inches

Vanitas in the Florida Room, oil on canvas 41 x 40 inches

Join us tonight 6:30-9 for Lynn’s solo exhibition featuring twenty-five brand new works. Stop by to meet the artist behind these spectacular oils. It’s promising to be a night full of great art and great people!

Last summer, one of our youngest artists, Teresa Oaxaca took an extended vacation to travel to Europe and visit the classical art cities for both inspiration and to further educate herself.  Here’s a little about her trip in her own words:

In July of last year, I went on a four month-long trip to explore European Old World cities and art collections- something I have always been longing to do.  The appreciation of art and the making of it are very closely linked for me.  This was intended to be a part of my continuing education as a painter.  It was also a really fun vacation with no fixed schedule and the goal to experience as much art, music, and culture as possible.  I got around by rail and foot, and stayed both with friends, and in rented rooms along the way.  Another feature of my trip was the incentive to visit antque stores and outdoor flea markets in search of props to bring back with me to pose and paint in the studio.  I made a fantastic discovery in Vienna: two antique German dolls, which became my companions throughout the trip.  I carried their delicate porcelain bodies under my arm throughout many a train station.

The motivation to go on this long and entirely self-guided tour came from the longstanding tradition of the “Grand Tour”.  The Grand Tour was an extended trip an 18th or 19th Century student would make around Europe to complete their classical education; usually with a large focus on Italian and French art.  To this day, many people still make these journeys as backpackers, or in one form, or another.  In my case, my fascination was with the kind of art I had become familiar with during my Academy days as a student in Florence, Italy.  A lot of my art books served as a guide, but I also kept an open mind, and clung to the reasoning that most every large city would have an art museum or something fascinating and worth the visit.

While making rounds of the galleries, I also looked up as many churches as possible- being drawn to their elaborate architecture, sublime decoration, and concerts.  Often, the sound of an organ coming from within was enough to stop me in my tracks.

I began in London, then made my way to Brussels.  From there it was Hamburg, Luneburg, Copenhagen, Eksjo, Stockholm, Mora, Gothenburg, Lund, Malmo, Berlin, Prague, Kutna, Hora, Vienna, Budapest, Switzerland, Florence, Venice, Munich, Amsterdam.

I spent a lot of time alone experiencing new places and finding my way around, and getting lost.  Along with the many new discoveries I made, it was alway comforting to find a view or spot an artwork that I had seen in a book or dreamed about long ago.  There was excitement to being free, but also a responsibility to look after my safety and well-being.  I can’t remember ever being so tired on some days.  The highlight was perhaps when I reached Mora, Sweden, which was the farthest up north I traveled.  The journey began in Stockholm and took me many an hour and several bus/train changes.  I had a high fever by the time I got there, and I hadn’t slept the previous night due to the necessity of staying up to make travel plans.  After finding my way to the Zorn Museum and having a good look around, I remember diving under the covers in my fresh bed, and having a nice long sleep.  Further along in my journey, I think I got wiped out in Munich and did similar.

Upon returning home I began a new series of paintings.  I think the break from painting did me a lot of good.  I feel as though I’ve broken through a few walls both mentally and technically.  By allowing my brain to restart, so to speak, I was able to do something that I normally find very difficult to do– that is to paint in a different way.  By the time I got to pick my brushes up again, I was ready to load the palette with more paint and experiment with a great variety of edges and paint textures.  I think this lent more breadth to my work while still being able to rely on all the old tools and approaches I have acquired over the years.  Since my return, I have spent much time in the studio and have become immersed in the work that has been forming in my head during the months of my trip.  The past year has been like this for me, with alternating periods of working extremely hard, and then taking a break to travel and live in other ways.  I’ve come to embrace this routine.  For me, painting is a very solitary and focused experience.  I don’t mean that I am completely alone, but my company consists entirely of models and people who collaborate with me on my projects in one way or another, my family included. I find traveling, taking work to shows, and meeting people to be a very different mind track.

We are excited to include Teresa in a group show later this spring– stay tuned!!! And please let us know if you are interested in seeing Teresa’s new, inspired work from her travels as it arrives throughout the year.

We’re excited to announce the newest addition to the gallery, Casey Childs. Born 1974 in Powell, Wyoming, the award-winning artist uses oil to capture the beauty, variations, and complexity of the human form. Loose and tight brushwork harmonize in beautifully executed paintings. Come in to see four of his great pieces, we would love to hear your thoughts!

Linda is from St. Paul, Minnesota and graduated from the Minneapolis College of Art and Design. She has worked in the creative market as an art director and account executive for firms specializing in marketing for public spaces. After several years of working for creative firms, and living in fascinating places like Paris, France, Linda decided to return to her roots as an artist.

She returned to painting full time in 2003. Finding her focus to be primarily portraiture and figurative pieces, Linda has found a delicate way to blend the two genres– creating fascinating pieces that are both a celebration of the individual and lovely for mass appeal.

Linda’s figurative works have been awarded by the ACOPAL, the Portrait Society of America, OPA, and BoldBrush.

Here is a preview of pieces on their way to the gallery:

Olympia by Linda Lee Nelson

Wassily Chair by Linda Lee Nelson

Art history buffs will appreciate Linda’s nod to Manet’s odalisque “Olympia”, and the familiar Bauhaus chair in these two paintings.  We were tickled pink when these images were sent to the gallery!  We can’t wait to see Linda’s paintings in person when they arrive later this week.

Please stop in to see this fabulously talented artist!

Composition 133 by Jeremy Mann. 2012.

Jeremy Mann and Casey Baugh have been listed as two of the “25 Artists of Tomorrow” to watch by American Artist in their 75 Greatest Artists of All Time single issue.

Evening by Casey Baugh. 2012.

We are so proud and fortunate to represent these very talented artists.  We remain some of these guys’ biggest fans.

 Jeremy describes the honor as a “strange and humbling feeling” on his Facebook page.  He likened it to the excitement one might feel as a Freshman who has been asked to prom by an upperclassman in high school.  A very relatable and endearing feeling indeed!

 We will be hosting a solo show for Jeremy Mann Friday November 9^th, titled “The Realness”.  Please come out to celebrate his wonderful work, and congratulate Jeremy on this prestigious role of “Artist of Tomorrow”.