Here is the Guild of Boston Artists booth at the Boston International Fine Art Show. I spent the day there again. I heard a talk given by both Joshua Rose of the American Art collector and by Peter Trippi of the American Art ConnoisseurTomorrow will be a big day there I think. Here are a few shots I took today. This is Quidley Gallery of 118 Newbury Street in Boston.
Theres a nice Sergio Roffo in the middle, I painted that location with him this summer. It is one that was painted by all of the 19th century luminist painters and is from a place called Echo lake. Below is a shot of a nice Waugh, you know how fond I am of him.
This is a wonderful painting the photo doesn't do it justice. It is shown by Peter Rudolph of McClees Galleries from Haverford PA.I must get some sleep, but I will see you again tomorrow .
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8 comments:
Further proof that people in New England have all the fun...
The Waugh by the way looks like it is one of his strongest pieces.
Gonna try to get a look at the surf this morning, then get into town for that show..
It's looking good. Hope the rain brings people in. You are sure to see Will K. Congratulations are in order for him. He took the prize in oils/aryllic painting at the Concord Art Association's Frances Roddy Open Competition this week.
Hope to see you there!
I'm back from the show and I have a few observations. But I have to saay that the calibre of the art was extremely high and a lot of wonderful 19th century stuff and you can't get very closse to in museums. Maybe the best exhibit I have been to, but all stuff that I like.
The large Trost Richards you see as you enter. A sunset seascape 6 to 8 feet across. I was amazed at how thinly it was painted... and, by the dull pigment that was used to paint it. Ther is so much color and light in the picture that it does not seem possible. But when you first see it it is as though light is actually coming from the picture, but up close it is almost all earth colors. Amazing.
The Waughs. I was amazed at how much of his burnt umber underpainting he allowed to show through and leave untouched. In that seascape in the booth next to you, Stape, he even leaves big chunks of it in shadows of his middle ground waves! and the edges are quite sharp there too. Keep in mind that that brown that he leaves, the original underpainting, is in the shadow and does not change as it goes back in ariel perspective. There is a goodly amount of that same brown left in the background, also. But all seems to work very very well regardless. The foreground rock in that picture was almost all ground in the deep shadow, a reddy brown, then as the light began to encroach upon the shadow he painted that a middle grey, then the light struck part was thick and luscious color and paint. I guess there is a lesson here.
I was struck my some of those really small studies, there were many in the show by some pretty big people. Some as small as 4x 6 inches. Just lovely.
Those Britchers, Ripleys, Bensons,Heades, Tonalist Ennekings, that Turneresque Moran iceburg picture across from you. The North shore people, Hibbards, Gruppes, The many many Buttersworths, The Leipkes with all their acne rosacea, We just do not get to see so much good stuff all in one shot. It is all just breathtaking. I may have to go back tomorrow to rechew some cudd.
Philip:
We are having fun in the rain this weekend. It is just pouring here.
.......Stape
Willek:
Good to see you today. I had been studying that Waugh myself and drawing the same conclusions. The big William Trost Richards were really something weren't they?
.............Stape
Sandra:
Good to see you and meet your family.
...........Stape
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