Contemporary Paintings – Page 3 – The Christina Gallery

American Folk Art by Ted Jeremenko

It wasn’t until his mid-twenties that Ted Jeremenko discovered his love of painting. While working in the computer and banking industries, Jeremenko began his artistic career as a hobby. After the success of his first show at Jay Johnson America’s Folk Heritage on Madison Avenue, NY Jeremenko followed his passion and became a full-fledged professional artist. “I paint primarily for myself,” he explains, “but it is very gratifying to know that my artwork touches other people.”

Jeremenko’s work is very unique for its simple, geometric forms and raw view of the world. His oeuvre is very much a part of the folk art tradition. He paints landscapes scattered with houses and other architectural buildings including lighthouses and churches. Jeremenko approaches each painting with a goal of simplifying the view. Each plane is painted with a solid color, breaking down entire scenes into a handful of colors. This stylistic representation of architecture works in harmony with Jeremenko’s pointillist-inspired landscapes to create striking compositions.

“Along the Pond” clearly demonstrates the dualistic technique of pointillism and abstraction that Jeremenko employs. He uses color to define light, form, and a sense of space. The focal point of the painting is the red house slightly to the left of center, but the viewers’ eye moves easily around the canvas to the stark white church and on to the dark green mountains in the background. The multi-hued leaves on the trees seem to move in the breeze and it is easy to imagine each individual blade of grass that grows in this thriving landscape. Jeremenko helps the viewer see beauty in every scene. His stylized methods create a serene world filled with greenery, blue skies and composed buildings.

Jeremenko was born in Yugoslavia in 1938. He moved to Philadelphia, Pennsylvania at the age of twelve. His carefully arranged compositions and beautiful renditions of space allow us, as his viewers, to see the world through Jeremenko’s eyes.

View more acrylic paintings by Ted Jeremenko here or visit us in person to see his works for yourself.

Lush Landscapes by Curtis Hanson

When I look at a Curtis Hanson painting I’m immediately transported to a warm summer day in the lush landscape of New England or, equally as frequently, to the rice fields of Thailand. Hanson devotes himself to meditation and through this practice he has learned to observe the world around him with an astute eye and an open mind.

“As one whom has given my whole life to the practice of painting, at its heart has been that painting is an object of awareness of what it means to be alive. Through direct observation of nature both in the external and the internal world it has and continues to be a way of knowing and understanding what this life is.”
~Curt Hanson (from his blog August 18, 2010)

Hanson studied with Charles Palmer and Stan Taft at Fort Wright College in Washington State. After graduation he moved to New York City where he was influenced by the work of the Barbizon School paintings and George Inness. The Barbizon School was a movement beginning in France in the mid-19^thcentury following John Constable’s lead portraying nature as the focal point of paintings rather than the backdrop for portraits or historical scenes. Hanson has wholly adopted this attitude towards art. Outdoor landscapes and scenes of the natural world dominate his canvases.

"Salt Marsh" by Curtis Hanson — “Salt Marsh” by Curtis Hanson

“Salt Marsh” is indicative of Hanson’s reflective painting style. His work is easily recognizable for its natural palette of green, yellow and blue based hues. He often selects calm and meditative landscapes such as this New England scene. The sky glows with glazes of pink and yellow underlay beneath the blue haze of a foggy day. The clear water mirrors crisp reflections of the trees dressing the horizon line. Hanson understands exactly how to capture the viewer’s imagination and help bring them to a place of quiet contemplation. Each canvas that he paints bathes its audience in his message of meditation.

More original oil paintings by Curtis Hanson are on view at The Christina Gallery. Come visit us in Edgartown, MA to see the full collection in person or visit us online here.

An Interview with John C. Traynor

This past week John Traynor visited Martha’s Vineyard. I was able to steal him away from painting for a short while in order to talk to him about his artwork. Traynor has had a successful career as an artist, commemorated by over 200 awards. Read on to hear about John’s affinity for the Vineyard and his inherent ability to capture the splendor of nature.

By Erica Udow, Gallery Associate

You have been visiting Martha’s Vineyard in the summertime for many years. What is it that attracts you to the island?

I like the peacefulness of Martha’s Vineyard. Of course, the past couple of days have been nice with the sunny weather and the light breeze. Like many visitors to the island, I come near the water and immediately relax.

Do you have any favorite spots to go and paint?

I used to like painting Menemsha, but a little bit of the old world feeling is going away. I like the variety of the different towns. We usually go for breakfast out by Gay Head near the Indian Reservation. It’s nice having come here for a while, to have our favorite places that we go back to time and time again.

On the East Coast everyday is different. If you own a house here you can sit in the same spot at the same time each day and see a completely different landscape with a different sky reflecting into the water. That phenomenon is unique to this area. I spent some time traveling on the West Coast this year and was able to experience and paint some striking landscapes in Hawaii and Carmel, California. There are varied landscapes in those areas, but the sky doesn’t change in the same way as it does along the East Coast.

Last summer the theme of your exhibition at The Christina Gallery was “Favorite Places,” based on your travels around Europe. What themes are you developing for next summer’s exhibition?

This trip I’m getting things together. I’ll have some local Vineyard scenes for the exhibition next year. I’ve never been here in August before. We usually visit in July so I’m absorbing different scenery and changes in the landscape. I will be back here next summer when the roses are out; hopefully I’ll include those paintings in the show. I tend to let themes emerge naturally, so I’ll have a better idea of what the exhibition will look like by the spring [2013]. Until then, I will paint whatever inspires me. I have recently become more interested in figurative painting. This trip to the Vineyard I have spent time paying attention to the way people interact and taking photographs when people catch my eye. I’m always thinking about how to improve my paintings.

Is most of your current work done on location or in the studio?

I spend a lot of time painting outside on location. If you’re out for a couple of hours things happen. You meet people. Being outside you have the smells and the sounds…other senses to go by.

When I look at your artwork I’m immediately drawn to the way you are able to depict natural light. Your paintings seem to glow from within and the way sun breaks through the clouds in a natural, graceful way.

When I paint outside, that’s the first thing I think about – the light. The light changes in about an hour to an hour and a half so I try to work quickly within that time frame before the light changes drastically. When painting I learned to use light to help the viewers’ eye move around the painting. Painters that I like from the past do that really well. For me capturing the light is about capturing the feeling of the moment and the scene. I want to share that feeling with the viewer and help them experience my painting with all of their senses.

What artists inspire your approach to depicting light?

Old masters like Rembrandt and more modern artists like George Ennis, who was part of the nineteenth century Hudson River School. As I developed my own painting I became interested in the moment when Impressionism came to America. Frederick Mulhaupt of the Gloucester School was an interesting artist. He was able to capture the complete ambiance of a scene in each painting. I try to do the same in each of my works.

Do you ever paint alongside other artists or do you prefer to work alone?

A lot of the trips I go on, I really just want to paint. Once in awhile I go out with someone else and paint together, but for the most part I work alone.

What is the intention behind your paintings? Clearly, there is a focus on the portrayal of light, but are you also trying to impart a message upon your viewers?

I interpret what I look at; that’s what I want to pass on to the viewer – the beauty of nature and the implications of light. People have told me that they look at my artwork and are immediately able to relax. Today everything is mechanical. When someone has something that is made without technology it is really special. I want to leave my viewers with something honest. I want to share what I see; the spontaneity, the structure and the beauty of what is all around us.

You can find more information about Traynor’s Summer 2011 exhibition, “Favorite Places,” at The Christina Gallery here.

John Powell’s Visions of Paradise

John Powell is a bold artist. He doesn’t shy away from color or detail as is so clearly evidenced in any one of his oil paintings. Powell has an uncanny ability to meld reality with fantasy to create lush landscapes and ornate still-life’s. Perhaps his interpretation of the world comes from his Hollywood roots; John Powell grew up in Hollywood, California. As a young man Powell joined the Navy for a four year stint. Two of those years were spent based in Japan where he developed a deep-seeded interest in the Far East and Japanese culture. Throughout his life Powell has continued to travel and collect objects from around the world. These artifacts feature prominently in his paintings.

"Window Nook" by John Powell — “Window Nook” by John Powell

Powell’s steady hand and vivid imagination lead to incredibly detailed images, both in the foreground and background. Not a single blade of grass or curlicue design on a Japanese vase escapes Powell’s grasp. Incredibly, this inundation of information does not overwhelm the viewer, but rather heightens one’s senses. The viewer is drawn into the scene and soaks up every detail. Nothing escapes Powell’s observant eye. In “Window Nook” we see no fewer than six different vases, four tables, and three ornate textiles portrayed. Those objects only begin to make up the background of painting. The true subject of the painting is the vibrant flowers that seem to grow out of the canvas, blooming in every inch of the artwork.

Powell has often spoken of his intense interest in color that drove him to pursue painting. “I was on a bus going home to Hollywood. The evening was warm and the shadows were strong. Suddenly it hit me – there they were; all the colors my father and Will were talking about.” His father, a respected Californian artist, taught Powell to draw but wouldn’t allow him to paint until he had learned the basics and first became an accomplished draftsman.

At the age of 82, John Powell is still expanding his oeuvre and developing new techniques. Speaking about a recently completed large-scale work “’This was a first for me as far as painting a triptych this size. It presented new challenges as well as new goals and growth for me as an artist.” Not only did Powell tackle an enormous project (the completed work stands at 15’ high and 3’ wide), but the underwater subject was also a departure from the garden-scapes for which he is known. Many of John Powell’s new paintings are currently on display at The Christina Gallery. Come visit us in Edgartown to see these elaborate artworks yourself.

A Look Back in Time: Historic Marine Scenes

William R. Davis has made his name as a painter of historic sea and landscapes. Known as one of the best marine painters of our time, Davis is a self-taught artist who learned to paint by studying the works of 19^th century masters. Francis Silva’s works showed Davis that warm tones are pleasing to the eye, while astute observation of William Bradford’s paintings led to Davis’ technique of priming his canvas in salmon hues. The salmon under-painting results in the warm glow that marks each of Davis’ oil paintings.

"Gay Head Light c. 1890" by William R. Davis — “Gay Head Light c. 1890” by William R. Davis

Davis was born in 1952 in Somerville, MA and grew up near the water in Hyannis where he developed a love of sailing that would last a lifetime. He has amassed a library of over one thousand texts on marine artists, historic vessels, maritime charts, and other boating related books. He thoroughly researches each landscape in order to recreate its 19^th century appearance. Davis uses a gentle hand and a soft sable brush to create his carefully rendered oil paintings. His works are defined by their warm color palette, impeccably detailed subject matter, smooth surface, and atmospheric lighting. Renowned for his ability to accurately portray the billowing sheets and taught lines of a schooner, he is also unmatched in his ability to emulate the quality of light in a dewy sunrise or a pink-tinged sunset. His perceptive appreciation of light allows him to capture the power of nature in every painting. Collectors of Davis’ art praise the elegant way his brushstrokes melt into the surface of the canvas and the accuracy with which he captures the turn-of-the-century seascapes.

William R. Davis’ work is reminiscent of the American Luminism of the late eighteen hundreds. The style is defined by the use of natural light, often sunrise or sunset, in the paintings of American landscapes. Davis’ work can be found in collections and exhibitions around the world, including at The Christina Gallery in Edgartown, Martha’s Vineyard.

Lillia Frantin: A Contemporary Modernist

Walking past the windows of The Christina Gallery, one can’t help but notice the bright colors and bold brushstrokes of Lillia Frantin’s “Still Life on a Summer Day.” The large canvas radiates energy while Frantin’s palette of pastel and neon shades illuminates space far beyond the painting’s frame. A bouquet of pink flowers blooms in a glass vase. Green stems create contrast with the orange and yellow backdrop of the painting, and the plate of oranges at the foot of the floral arrangement.

"Still Life on a Summer Day" by Lillia Frantin — “Still Life on a Summer Day” by Lillia Frantin

Lillia Frantin’s influence by Expressionists and Fauvists such as Matisse, Cezanne, and Bonnard is clear. Like her precursors, she tests the limits of representation in her signature loosely painted, energetic still lifes. After teaching Modernist Art History at the university level for twenty years Frantin retired to pursue her painting career full-time. Looking at Frantin’s paintings is like seeing the world through her eyes. As she describes “…Art is really what we all search for in life: understanding and respect, harmony and freedom, connection, vitality, truth and beauty.”

The Christina Gallery welcomes Lillia Frantin’s Modernist oil paintings back after a ten-year hiatus. Her work can be found in collections across the United States and abroad. Come visit us at the gallery and ask us for more information or to see her vibrant works yourself.

The First Gallery Stroll and an Interview with Lloyd Kelly

Last night’s reception of Lloyd Kelly’s “Paintings of Provence” coincided with the first Gallery Stroll of Summer 2012. The gallery was filled with visitors from all sides of the island. Guests enjoyed drinks and conversation while looking at paintings by artists such as William Davis, John Traynor, Russell Gordon, Lillia Frantin and four generations of the Pissarro family.

After viewing “Paintings of Provence,” I was able to enjoy a conversation with the artist Lloyd Kelly. He talked candidly about his inspiration for the show, his approach to painting in general, and his interest in the Far East. – Erica Udow, Gallery Associate, The Christina Gallery

An Interview with Lloyd:

The theme of this exhibition is Provence, France. Many artists in history have embraced this subject. What inspired you to continue the tradition?

“Impressionists called themselves Japanesists because they were so influenced by the Japanese. The South of France is inspirational because of the food, the wine…magic light there. It is still a big influence on artists today. There is such diversity of landscape; nature is so present. It energizes the artist and inspires…”

Speaking of inspiration, you have spoken of the influence the eighteenth century Japanese artist Ito Jakuchu has had on your work. How did that develop?

“First of all through textbooks and also through my interest in martial arts and Tai Chi starting as a child. My father was in the military and travelled to Japan. Because of things that my father brought back, I started becoming more and more interested in China and Japan.”

What about Jakuchu’s work appeals to you?

“The specific influence of Ito is that he incorporates asymmetric balance that for the time was very unique. He really is arguably one of the greatest artists of all time.”

Are there other artists whose work you find to be particularly influential?

“Do you know the artist Morandi? Giorgio Morandi was from Bologna. He was very influential on people like Rothko. You name the big artist and they were all looking towards Morandi. He has always been an artist’s artist. He takes very simple objects that are conventional so that [the object], be it landscape or still life, is not about the subject matter at all, it just becomes a way into the subject matter.”

In “Arts & Ideas” you mention that your work is abstract and not only about the obvious subject matter of the painting. Is Morandi’s approach what you are referring to?”

“For example the Chinese and Japanese will paint the same peach blossom for generations. It is not about the peach blossom [itself], but what each artist brings to the peach blossom. Morandi lived with his mother and painted the same objects over and over…dealing with abstract and contemporary issues… moving around space, and color. [He made] the subject matter accessible to the viewer. It is really about something else even though the subject matter is traditional and conventional.”

I read about your use of bourbon as paint thinner in a series of equestrian portraits you painted a few years ago. Have you continued to use this technique in your recent works, or was that an one-off experiment?

“I use lavender oil in the paint. Sometimes, in fact, the UPS people will ask ‘what is this I have in my truck!’ Spike of lavender was used during the Renaissance… It causes the paint to flow. It slows down the drying and one can really draw with the paint. I use it in small passages, often in the lavender blossoms themselves. I sometimes use bourbon or cognac or calvados. I go to the distilleries and they give me the designate, which is completely clear, and does not contain the chemicals and tannins and so forth. It disperses the pigments differently than chemical mediums.”

How did you come up with the idea to use unconventional mediums?

“After school I [completed coursework in] Museum Studies at The Louvre and The Tate. I collected [indigenous materials]. I think it is fun. I think it’s interesting. There’s some sort of an authenticity to it. It is kind of like living off the land. I think that the source is from my museum education at the Louvre.”

Your oil paintings demonstrate an adept ability to manipulate color…

“You can only get about 170 colors [readymade from an art store]. The human eye, untrained, can see up to 700 with no problem. With a little training [it] can see up to a few thousand. The interaction of colors is something that interests me a lot. That is why I do so much under painting. The viewer’s eye mixes the colors. The colors that I mix are [just the first step in creating the final product]. The viewer’s eye brings it together to another place.”

“Paintings of Provence” by Lloyd Kelly

Lloyd Kelly is internationally renowned for his landscape and equestrian oil paintings. He has exhibited at The Christina Gallery since 1994 as well as at galleries and museums around the world including the United States, Mexico, Japan, China, France and Italy.

"Juillet en Provence" by Lloyd Kelly — “Juillet en Provence” by Lloyd Kelly

Kelly’s works are often celebrated for their bold use of color and unique asymmetrical balance. High horizon lines simultaneously provide the viewer with both an interesting focal point and an entryway into the canvas. Diagonal lines extend off the canvas out into the viewers’ space, resulting in the dissolution of barriers between reality and the world created by the artist’s brush. This technique allows the viewer to become a part of the painting.

A consistent thread seen in Kelly’s work throughout his career is his use of complementary colors in the fore and background of his paintings. He places great importance on the under-painting of his canvases. The contrast that his layering creates adds dramatic tension to the deceivingly simple compositions and subjects. His selection of beautiful and serene subjects such as lush lavender fields and floral still-lifes are familiar to viewers. Kelly himself frequently reminds the viewer that his work is abstract and that diverse and unexpected meaning can be found in even the most seemingly innocuous subject matters. The painting is not only about the object itself; conventional subjects become a way to express other ideas.

From July 5-19, 2012 The Christina Gallery will have on view an exhibition of original oil paintings by Lloyd Kelly entitled “Paintings of Provence.” Inspiration for the works in this show comes from Kelly’s travels to the south of France. Many master painters in history are either from, or travelled to, Provence. The rolling hills, impressive architecture and surreal natural lighting provide a rich subject matter for this collection of paintings. As Kelly explains, “The south of France is inspirational because of the food, the wine, and the magic light there. It is still a big influence on artists today. There is such a rich diversity of landscape; nature is so present. It energizes the artist and inspires…”

We hope to see you at The Christina Gallery for our first show of the 2012 Summer Season!

“En Plein Air” with Jan Pawlowski

Jan Pawlowski is known internationally for his impressionist seascapes, landscapes and city scenes. Sunday the 24th of July marked the opening of the Polish artist’s one man show here at The Christina Gallery. Pawlowski has been a frequent visitor to Martha’s Vineyard since joining the gallery in 1996.

This exhibition of his work highlights these visits as he displays views of the island. The paintings displayed in the show demonstrate Pawlowski’s confident and quick brushstrokes as well as his sensitive understanding of color and form. Pawlowski’s followers appreciate his bright and serene palette.

"A Day for Sailing" by Jan Pawlowski — “A Day for Sailing” by Jan Pawlowski

Paintings such as “June Afternoon, Edgartown Yacht Club” capture the essence of the Vineyard. A light wind blows causing the American flag to flutter in the wind and a cluster of sailboats breeze by in the distance. Pawlowski manipulates the oil paint masterfully, transforming a few simple brushstrokes into light and fluffy clouds gracing the otherwise clear afternoon sky.

Jan Pawlowski paints en plein air or ‘in the open air.’ This technique of painting was advocated by the Impressionists of the late 19^th century. In 1841 tubes of paint were invented, allowing artists to easily transport their materials and paint from life wherever they were inspired. Prior to this invention, artists and their assistants hand ground pigments and produced their own paints. Many art historians and critics credit the creation of tubes of paint for the development of Impressionism for it was the ease of movement that allowed artists to paint outdoors. Pawlowski embraces this technique and can often be found along the beaches and waterfronts of Martha’s Vineyard capturing the jovial atmosphere of the island with his expressive brushstrokes and pleasing palette.

Pawlowski has been recognized for his oeuvre of artwork by the Polish government; in 1979 he was awarded the highest honor given, called “Authorization and Certification.” His work was also in the collection of Pope John Paul II.

“Favorite Places” by John C. Traynor

Last Friday evening, July 1^st, the gallery filled with visitors to celebrate the opening of our most recent show and to kick-start the summer season. “Favorite Places” is an exhibition of oil paintings by John Traynor that depict his favorite places from his travels. Locations shown include Paris, Venice, Martha’s Vineyard, and his own backyard in southern New Hampshire. John Traynor is a contemporary New Hampshire-based artist who paints landscapes and marine scenes with a remarkable sensitivity to light.

As Traynor says, “I want to share what I see with the viewer, the spontaneity, the structure and the beauty of what is all around us.” This honest approach to painting has resulted in over two hundred awards recognizing Traynor. In November 2010 he was the recipient of the prestigious Salmagundi Club’s highest award, The Salmagundi Club Medal of Honor and Merit, for his artistic achievements and contributions to the field of art.At the opening guests mingled with John and his wife Sara while enjoying the art. Visitors heard stories of John’s travels ranging from the grassy meadows of Ireland to the New England countryside that corresponded with the paintings on view. John often paints outdoors on location, a fact that is immediately apparent in his rendering of color and form. He has been recognized as a Copley Master by the Copley Society of Boston, the oldest non-profit art association in this country. His work is part of over one thousand public and private collections around the United States.

The summer season is in full force on Martha’s Vineyard following the Fourth of July weekend. We currently have over 30 artists on display at The Christina Gallery as well as our antique collection of charts and maps. Stop by our gallery at 32 North Water Street, Edgartown to see the exhibition for yourself or flip through our online selection of works by Traynor here.