Archive for the ‘Work of the Week’ Category

Italian Seascapes

Posted on: August 10th, 2016 by Kristie Landing
"Sunset Dinner in Cinqueterre, Vernazza" Lindsay Goodwin 8" x 10," Oil on Canvas

“Sunset Dinner in Cinqueterre, Vernazza”
Lindsay Goodwin
8″ x 10,” Oil on Canvas

"Boat on Lake Como" Lindsay Goodwin 9" x 12," Oil on Canvas

“Boat on Lake Como”
Lindsay Goodwin
9″ x 12,” Oil on Canvas


Welcome to the newest segment of Work of the Week, where we are continuing our exploration of works by artist Lindsay Goodwin. Today, we are looking at two pieces that recall her visits to the beautiful Italian coastline. Italian scenes are not the norm for Lindsay– she typically takes us to fancy restaurants in Paris and Provence, but we aren’t complaining!

The first scene depicts the extraordinarily beautiful Cinque Terre, which is comprised of separate villages known for their colorful houses bordering the sea. We are looking out over a restaurant’s carefully set tables, perhaps wondering which we will be seated at when the sun starts to set. Lindsay has given us a broad view of the natural backdrop to show not only her exquisite detail, but talent at landscape as well. This scene is pure fun – the umbrellas stand slightly askew, a boat cruises toward the shore and rolling hills frame the backdrop. We may never leave!

The second scene is a little more intimate: one of Lindsay’s classic table settings. Each glass has its shimmer and the white tablecloth has more colors than a rainbow. But, then we have a very interesting perspective in which we can see beyond, not just to a boat speeding by, but to unique architecture looming in the sapphire distance. If it weren’t for the movement of the boat, this scene might be a little staid, but with it the scene becomes more relaxed and the table, approachable. Won’t you join us for dinner tonight in Italy?

Art de Vivre

Posted on: July 26th, 2016 by Kristie Landing
"The Green Bird, Chateau Mirambeau," Lindsay Goodwin. 8" x 10," Oil on Canvas.

“The Green Bird, Chateau Mirambeau,” Lindsay Goodwin. 8″ x 10,” Oil on Canvas.

At the crossing of the Cognac and Bordeaux vineyards lies a 16th-century stone-built mansion that rivals Cinderella’s. Château de Mirambeau is a cultural playground as well as a natural retreat overlooking the Gironde estuary. It may come at no big surprise then that artist Lindsay Goodwin found her way to this treasured oasis, for its rooms are decadent enough to entertain Marie Antoinette. Every table, every wall boasts plush decor. One person even wrote in their review that the hotel “made them feel like they were living in a movie.” See for yourself: Château de Mirambeau. In Lindsay’s painting “The Green Bird, Château Mirambeau,” she has portrayed a scene from the elegant dining room at the hotel. In fact, there is not just one green bird, but many decorating the candlesticks around the room. The gilded mirror in her painting is really extraordinary: notice the detailed reflection of the table settings and wallpaper. Also unique is the perspective of the viewer, which spans both the interior of the room as well as out a door or window on the right. Lindsay demonstrates both the grandeur of human achievement as well as natural beauty of the landscape, summing up the hotel in one perfect moment.

Crillon Le Brave

Posted on: July 18th, 2016 by Kristie Landing

It has been a while since I’ve posted, but I am pleased to say that “Work of the Week” is back and a double at that!  In the next few weeks, we will be exploring some of the stunning new pieces by Lindsay Goodwin to celebrate her newest exhibition.  Up first: two lovely scenes at Crillon Le Brave in Provence. Below, you will see both an interior from the Restaurant Jerome Blanchet at Hôtel Crillon le Brave as well as a landscape of the medieval village.  A refuge set among the vineyards near Avignon, the hilltop town dates back to the 14th century and Roman rule.  It now boasts charming markets, walking trails, breathtaking views, and of course, all the wine tastings you could desire.  Imagine strolling through the vineyards, popping a grape into your mouth here and there under the warm sun.  After a long and invigorating day, you retire to your hotel and tuck into a cozy meal at the hotel’s luxurious dining room.  You might order the roast lamb, purple potato gnocchi or foie-gras flavored with cherries.  Whichever you choose, don’t forget your French!  But truly, the proof is in the pudding: Lindsay has once again immortalized the moment in the most elegant fashion and Crillon le Brave has never looked more beautiful.

Crillon le Brave

“Fire and Stone, Crillon le Brave.” 8″ x 10,” Oil on Canvas

Crillon Le Brave

“Crillon le Brave at Sunset.” 11″ x 14,” Oil on Canvas

The Magical World of the Firebird

Posted on: June 25th, 2015 by Kristie Landing
"World of Fire Bird" Lyuba Titovets 30" x 24" Oil on Canvas

“World of Fire Bird”
Lyuba Titovets
30″ x 24″ Oil on Canvas


On this day in 1910, the dramatic ballet The Firebird opened to a Parisian audience with instant success. First performed by Sergei Diaghilev’s Ballet Russes company, The Firebird featured choreography by Michel Fokine and musical score by a young Igor Stravinsky.


“And in my dreams I see myself on a wolf’s back
Riding along a forest path
To do battle with a sorcerer-tsar (Kaschei)
In that land where a princess sits under lock and key,
Pining behind massive walls.
There gardens surround a palace all of glass;
There Firebirds sing by night
And peck at golden fruit.”

Excerpt from Yakov Polonsky, “A Winter’s Journey” (Zimniy put, 1844)


Watch as the Firebird is captured by a prince and subsequently released, realizing he means no harm. At the end of their pas de deux, the Firebird bestows upon the prince a magic feather that he may use if ever he finds himself in trouble…

The Firebird Royal Ballet 2001
The Firebird: Leanne Benjamin
Ivan Tsarevich: Jonathan Cope
The Orchestra of the Royal Opera House – John Carewe
Royal Opera House Covent Garden 2001

Singularly Miró

Posted on: June 13th, 2015 by Kristie Landing
Grand Personnage Noir, 1948 25 3/8" x19 1/2" Lithograph

Grand Personnage Noir, 1948
25 3/8″ x19 1/2″


With lithographs of organic forms, flattened picture planes, and boldly rendered lines, Joan Miró left his mark on the 20th century and beyond. Born in Barcelona in 1893, Miró attended business and art school, focusing on art after suffering a nervous breakdown. He received early support from the art dealer, José Dalmau who gave him his first solo show at the Galerie la Licorne in Paris, 1921.

In his long, creative life, Miró experimented with Dada techniques, the Dutch Master style, Cubism and Surrealism using mediums that ranged from sculpture, collage, oil paint and lithographs. Music and literature were his muses and art leaders like Picasso and Ernst, his collaborators. After WWII, Miró focused primarily on graphic media and printmaking, which engaged him until his death. His works are more sought-after than ever by collectors and have inspired generations of artists, particularly the American abstract expressionists.

“The spectacle of the sky overwhelms me. I’m overwhelmed when I see, in an immense sky, the crescent of the moon, or the sun. There, in my pictures, tiny forms in huge empty spaces. Empty spaces, empty horizons, empty plains – everything which is bare has always greatly impressed me.” —Joan Miró, 1958, quoted in Twentieth-Century Artists on Art


Fusee, 1959 11 1/16" x 15" Etching and Aquatint

Fusee, 1959
11 1/16″ x 15″
Etching and Aquatint

Showtime: “Crazy Love”

Posted on: June 4th, 2015 by Kristie Landing
"Crazy Love" Mark Bettis 60" x 48" Mixed Media on Panel

“Crazy Love”
Mark Bettis
60″ x 48″
Mixed Media on Panel

We have nothing but crazy love for the new works by Mark Bettis at the gallery. I hope this last blog post gets everyone excited for the opening of “Get Lost” tomorrow night from 5-8pm—we sure are and can’t wait to see you. The last work we are featuring is “Crazy Love”…care to take a guess why?

“Crazy Love” is a giant, stunning example of Bettis’ creativity and passion. It is extreme with bright, neon orange and teal patterns and sweeping rings that simultaneously invoke sentiments of unity and frenzy. “Crazy Love” is also subtle, with the under layers oozing through like ghosts from the past.

There is a raw quality in “Crazy Love” that I talked about in the last post that make Bettis’ work urban and uncut. The texture of the works, which stems from his unconventional usage of cold wax gives the works an added layer of sensory stimulation. Bettis’ works are a departure for our gallery, but we thought it was about time to stir things up with a little mixed-media love.

Don’t miss a chance to meet Mark Bettis tomorrow night from 5-8pm at the opening of “Get Lost.”

To view more of his works, please visit our website:

The Countdown Continues: “Past Memories”

Posted on: May 26th, 2015 by Kristie Landing
"Past Memories" Mark Bettis 24" x 24" Mixed Media on Panel

“Past Memories”
Mark Bettis
24″ x 24″ Mixed Media on Panel


About 8 years ago, Mark Bettis moved from Florida to the River Arts District in Asheville, where he turned over a new leaf in more ways than one. For starters, he began using cold wax as a medium to paint with, finding that it was “a great medium that thickens to allow endless possibilities of layering color and texture.” His approach to painting transitioned to more of a deliberate peeling process where he builds up a foundation of layers and then scrapes specific parts away. Revealing the wax underneath exposes the journey he took in creating his painting –past to present– a unique process that many Abstract Expressionist painters of the 1940s utilized.

The pentimenti, or remnants of earlier layers that peek through the top layer in “Past Memories” bring the work together visually and add complexity and intrigue. For example, having scraped the ivory layer in the top right, Bettis reveals a haunting maroon layer that echoes other traces of red in the painting. In more ways than one, Bettis is alluding to the past. The thin, scribbled turquoise, red, and black lines recall an unfinished sketch, even though they were almost certainly added last. The overall appearance is raw and uncut, yet the composition pulls the focus towards the center, clearly demonstrating forethought.


"Past Memories" Mark Bettis 24" x 24" Mixed Media on Panel


For more works by Mark Bettis, visit

& don’t forget to check back next Tuesday for another close look at a work premiering in the show!

The Countdown Continues: “Peaceful State”

Posted on: May 19th, 2015 by Kristie Landing
"Peaceful State" Mark Bettis 36" x 36", Mixed Media on Panel

“Peaceful State”
Mark Bettis
36″ x 36″, Mixed Media on Panel


Spoleto is about to begin and amidst this and other busy times in Charleston, we seek ways to bring a sense of tranquility to our lives. A Nest candle, white hydrangeas, and soft piano music might do the trick, but art also contributes to our moods. For this reason, we love rare gems like Mark Bettis’ “Peaceful State.” In contrast to his upbeat and joyful works like last week’s “Burst of Spring,” this work is designed to bring viewers peace of mind. Transcending the quiet, “Peaceful State” lifts the spirit, sending viewers into a state of pure visual bliss.

While highly abstract, this mixed-media work is designed to be very approachable. The symmetry involved, from the colors to the shape of the canvas- a perfect 36” square, achieves harmony  and balance. There is no object to focus the gaze on, which lends an air of mystery to the work; yet it is like wondering about the galaxy— baffling, yet strangely soothing. As the misty strokes of color pool together in “Peaceful State,” I’m left with the lasting impression of serenity. Are you?

For more works by Mark Bettis, visit

Don’t forget to check back next Tuesday for another close look at a work premiering in the show!

The Countdown Begins: “Burst of Spring”

Posted on: May 12th, 2015 by Kristie Landing
Burst of Spring Mark Bettis 48" x 36", Mixed Media

“Burst of Spring”
Mark Bettis
48″ x 36,” Mixed Media

The weather in Charleston right now is hot, hot, hot…a balmy 92 degrees with high humidity. Even though it is technically still spring, it feels much more like summer. When I first saw the image of the painting “Burst of Spring,” I felt as if I were looking at a visualization of the weather we are having. This is one of the many gifts of our new mixed media artist Mark Bettis—the ability to present concepts and ideas you thought were only a feeling.

While “Burst of Spring” provides a distinct contrast to his other new works like “Homestead” and “Illusions,” it is a perfect example of Bettis’ passion for color and life. It shares the same attention to lines, geometric shapes, and gently shifting planes, but has a vibrancy that is irrepressible. Whereas the other paintings are more harmonious in terms of symmetry and color, “Burst of Spring” is like a flame—wild, but enormously interesting to look at. The brilliant hues of yellow, blue and red stand out as the primary base from which all the other colors are sourced, demonstrating a realm of chromatic possibility.


Most notably, there is a flow towards the top of the canvas that suggests progression or growth and the title evokes flowers more so than if Bettis had chosen the title “Burst of Summer.” The simple act of titling the work “Burst of Spring” presents us with an image that brings the painting slightly out of abstraction; whereas in pieces like “Homestead,” it becomes more difficult to grasp representational forms.

Mark Bettis’ debut solo exhibition in Charleston opens June 5. Check back next Tuesday– I’ll be counting down the weeks until his show!

Joyful Puzzle

Posted on: April 11th, 2015 by Kristie Landing


Joyful Puzzle Lyuba Titovets 40" x 30" Oil on Canvas

“Joyful Puzzle”
Lyuba Titovets
40″ x 30″ Oil on Canvas


Spring is officially here and what better way to celebrate than with the adoration of nature’s most beautiful buds. This painting by Lyuba Titovets is a joy to behold, a joy to analyze, a joyful puzzle! Lilies red, white, and tiger brim from a blue delft vase on a table complete with various peeled and whole fruit. Serving as an elegant backdrop, a gorgeous green silk cloth brought back from China by Lyuba’s grandmother adds a sentimental touch to the work.


Born in St. Petersburg, Russia, Lyuba started private painting lessons when she was five years old. She attended the State University in St. Petersburg before moving to the United States with husband, Aleksander Titovets, also a renowned painter. Today, Lyuba primarily focuses on still-lifes, for which she carefully selects in-season flowers and sets up arrangements to create maximum impact.


While her subject matter emanates from life, Lyuba’s paintings are whimsical, surreal renderings of bravura that will light up any room. “Joyful Puzzle” is an impressionistic work with the colors of a fauvist—her brushstrokes are loose, but her colors are powerful expressions of exuberance. Even the bees are in awe of her painted beauties- we had one land on “Joyful Puzzle” just a few weeks ago!


For more works by Lyuba Titovets and availability & pricing information for “Joyful Puzzle,” please visit:

Remembering the Charleston Renaissance

Posted on: March 31st, 2015 by Kristie Landing
"Flower Lady," Alfred Hutty. 6" x 4" Pencil on Paper. Price available upon request.

“Flower Lady,” Alfred Hutty. 6″ x 4″ Pencil on Paper. Price available upon request.


As one of the oldest cities in America, Charleston boasts a rich cultural heritage with the lasting impressions of many ethnic and religious groups. Yet, Charleston’s history is not without blemish. From the aftermath of the Civil War to Hurricane Hugo, Charlestonians have faced extreme loss and the necessity to pull together the pieces of a shattered cultural fabric. Our greatest strength is that when faced with tough times, we have not only been able to rebuild, but have preserved the art and architecture that make us the charming Holy City that we are today—one that consistently ranks as one of the top cities to visit in the world.

Born out of the shambles that the Civil War left in its wake, the Charleston Renaissance was perhaps our city’s most dramatic period of renewal to date. In the mid-1920s, a few forward-thinkers began writing about and painting what was left of the beauty of Charleston. With several women artists at the helm of the movement and a focus on African-American subjects, the Charleston Renaissance proved to be a pivotal time of transition for the art of the South in more ways than one. Among the artists celebrated during this time were painters Alice Ravenel Huger Smith, Alfred Hutty, Anna Heyward Taylor, and Elizabeth O’Neill Verner and writers DuBose Heyward, Josephine Pinckney, John Bennett, and Beatrice Ravenel.

The sketch featured in this post is by Alfred Hutty, who wrote home to his wife in New York after first visiting Charleston, saying “Come quick, have found Heaven.” Like much of his work, Hutty’s sketch depicts an African-American going about daily life. As the object in her possession is somewhat ambiguous, we can only deduce from the title that this woman is holding flowers, perhaps those woven from sweet-grasses, a long-cherished tradition of African origin. This sketch is significant for many reasons, not the least of which being that it was produced by Hutty, who co-founded the Charleston Etcher’s Club and was the first American inducted into the British Society of Graphic Arts (1). “Flower Lady” is more than a depiction of a Southern woman; it is a statement acknowledging her value as an important member of society and a subject worth portraying in art. What’s more, it serves as a reminder to viewers that the magic of Charleston lies in its people, their traditions, and art.

View this work by Alfred Hutty on our website

To view other works by Alfred Hutty, visit the Gibbes Museum’s website by clicking this link



1. Biographical information seen here was sourced from the Gibbes Museum of Art’s blog.

Hemingway in Cuba

Posted on: February 3rd, 2015 by Kristie Landing


"Cojimar" 36" x 48" Oil on Canvas

36″ x 48″ Oil on Canvas


The year is 1928—Ernest Hemingway, his wife Pauline, their two sons, Jack and Patrick and Pauline’s sister Jinny Pfeiffer are traveling from Key West to Spain. Fate has it that they land in Havana, Cuba—a layover point on their westward journey. Unbeknownst to all, Hemingway will one day return here to live.


It is said that Hemingway felt such a connection with Cubans and their culture—from marlin fishing to Havana bars, that he called himself a “Cubano Sato,” or a garden-variety Cuban. He moved to Havana in 1939 and eventually settled in San Francisco de Paula, about 15 miles from Havana. It was here, at his house called Finca Vigía, “Lookout Farm,” that Hemingway penned the novel that he would be most known for, “The Old Man and the Sea.” Drawing inspiration from small nearby fishing village Cojimar, he wrote about an old fisherman’s struggle to subdue a captive giant marlin—a story that would be his last major work, a Pulitzer Prize winner and a significant contributor in his earning the Nobel Prize in Literature.


For its beauty and reputation, visitors seek out Cojimar, including our own artist Karen Weihs. Like Hemingway, Weihs was inspired to create something that spoke not only of the setting, but also the locals. Her work by the same name features abstracted huts in every color of the rainbow atop a field of grasses and under a misty blue sky. When asked why she chose so many colors for the buildings, Weihs responded, “In Cuba, people use whatever color they can find to paint their homes…they are a colorful people.”


Veni, vidi, vanitas

Posted on: January 19th, 2015 by Kristie Landing

Last week, I posted a quote from The Goldfinch, a Pulitzer Prize winning novel penned by Donna Tartt. The quote goes, “They really knew how to work this edge, the Dutch painters–ripeness sliding into rot. The fruit’s perfect, but it won’t last, it’s about to go.” I thought I would elaborate a little on this seemingly pessimistic statement and explore what she (the character in the novel) is referring to; namely, the Dutch Old Master’s obsession with the theme of vanitas.


If you are unfamiliar with vanitas, it is the concept that all earthly things are fleeting; that what is alive and well now will eventually fade and perish. Found frequently in art, especially the Dutch Old Masters’ works—from Utrecht to Willem van Aelst, vanitas is implied by the opulence and lushness of produce, flowers, and animals that seem everlasting, but are in fact not. The most obvious allusion to vanitas is the skull, but more discreet references are there to be discovered as well for those who look closely.


Following in the same tradition that the Old Masters perfected, our contemporary Dutch painters explore this theme. In Frans Van der Wal’s “Cherries and Copper,” we see plump cherries at the peak of ripeness—so detailed we can almost taste their sweetness. They are David’s “Napoleon Crossing the Alps,” the Titanic before it sank…


We also see a rusted copper pot that is humbled in the presence of the over-the-top luscious cherries. In my opinion, the pot is enriched by the toll that time has taken on it—it has a character and warmth that is inviting, rather than a sterilized or boastful quality. Either way, Van der Wal presents an intriguing mélange of beauty and decay that I can’t quite get out of my head.


"Cherries and Copper" Frans Van der Wal 9.5" x 15.75" Oil on Panel

“Cherries and Copper”
Frans Van der Wal
9.5″ x 15.75″ Oil on Panel


What do you think of the scene? Did you ever think that a still-life could be so intriguing?


Snow Big Deal…

Posted on: December 26th, 2014 by Kristie Landing
"Sunny Winter" Aleksander Titovets  40" x 30" Oil on Canvas

“Sunny Winter”
Aleksander Titovets
40″ x 30″ Oil on Canvas


Merry Christmas Everyone! While we have a sunny paradise to call home, now is one of the rare times when I wish it would snow…. to have fresh powder sparkling as it falls from the sky and a crunchy white blanket beneath my feet during this holiday season.


Fortunately, here at the gallery I have had plenty of substance from which to dream about in the form of Aleksander’s Titovets wintry landscapes. Aleksander’s snow scenes are more than unbelievable– they’re magical. With shades of pink, blue, light purple, and small splotches of white, Aleksander renders ground that from a distance looks like shadows on freshly fallen snow.


One of my favorite pieces from his and Lyuba’s new show, “Paris to St. Petersburg” is “Sunny Winter,” a stunning 40” x 30” that depicts just a few bare trees rising out of a snow covered ground. I like this piece for its simplicity and perspective. It is almost as if we are skiing down the hill that Aleksander has created. The shadows are heavily concentrated in the foreground, with a resulting palette of cool colors. However, the impressionistic and bright leaves on the trees in the background create some warmth that is eye-catching.


This time of year, what could be better than a sunny winter snow day?

Work of the Week: “Table View of the Sunset Over Provence,” by Lindsay Goodwin

Posted on: December 19th, 2014 by Kristie Landing
"Table View of the Sunset over Provence"  18" x 26" Oil on Canvas $5650

“Table View of the Sunset over Provence”
18″ x 26″ Oil on Canvas


Oil Painter Lindsay Goodwin is known for her decadent interior scenes of lavish restaurants in Paris, but once in a while she goes for something a little different. In between dinners at chateaus and desserts at Laduree, she occasionally finds time to steal out to Provence for an intimate gathering of family or friends (also where Lindsay and her husband tied the knot!). The glasses are still sparkling and the napkins white, but two baguettes on a cutting board suggest that the affair is slightly more laid-back. Black-tie or not, “Table View of the Sunset over Provence” has that infamous je ne sais quoi that we can’t resist!

The clarity of light and reflection in the glasses and silverware, the colors that shimmer on the napkins, and the perspective that makes us want to scooch in our chair at the table have us longing to be inside this fabulous work of art. Goodwin has created a perfect moment of beauty before the sun sets and the plates are filled and subsequently emptied. She invites viewers into this work over and over – from the sprig of lavender that is local to southern France, to the juxtaposition of the cool table with the warmth of the sun that makes this an approachable and well conceived table. Viewers love Goodwin’s works for their execution, but also for the invitation they present.


Where (besides this painting!) can you find a good baguette in Charleston? Try some of our favorite local bakeries listed below!


Goat. Sheep. Cow

106 Church St.


Pane di Vita

1030 Jenkins Rd. Suite B


Brown’s Court Bakery

199 Saint Philip St.


Baguette Magic

792 Folly Rd.



1075 East Montague Ave, N. Charleston



Work of the Week: “White Nights,” by Lyuba Titovets

Posted on: December 4th, 2014 by Kristie Landing
"White Nights" Lyuba Titovets, 24" x 36"  Oil on Canvas

“White Nights”
Lyuba Titovets, 24″ x 36″
Oil on Canvas


For a few months each year, when the sun reaches its highest point in the sky, people living above the Arctic Circle experience a natural phenomenon known as the midnight sun. On these nights, the sun is visible at local midnight. Festivals keep people busy during these nights, with none more fantastic than the “White Nights” of St. Petersburg, the world’s most northern city with a population over one million. From May to July, this Russian city hosts a series of classical ballet, opera, and music events beginning with the “Stars of the White Nights” at the Mariinsky Theatre and culminating in the “Scarlet Sails” celebration, which typically has over one million attendees.

Many cities around the world have their own offshoot of the famous festival, including Paris, France, where they celebrate “Nuit Blanche.” A few years ago, I found myself in the French capital during this nighttime festival. Sun or no sun, it was a night to remember. Dancing in the streets, museums open 24 hours, and screenings of experimental films on every corner were just some of the magical moments I recall.

Without this background, Lyuba Titovet’s work “White Nights” is a gorgeous still life. With it, we realize that not only does the scene take place at night, but on a night extremely special to many cultures around the world.


Lyuba’s favorite quote:

“To live without art is to live without the sun.” – Unknown

Works of the Week: “Evening in the City,” by Aleksander Titovets and “Paris Opera,” by Lyuba Titovets

Posted on: November 20th, 2014 by Kristie Landing
"Evening in the City" Aleksander Titovets 20" x 24" Oil on Canvas

“Evening in the City”
Aleksander Titovets
20″ x 24″ Oil on Canvas


We are so excited for our upcoming show, “Paris to St. Petersburg,” featuring Aleksander and Lyuba Titovets- we can’t stand it! The show encompasses nearly twenty fresh paintings from the famed Russian couple who now reside in El Paso, Texas. The majority of the new works feature their travels throughout Europe—highlighting the cities of St. Petersburg and Paris, but paying homage to smaller towns and the countryside as well. I plucked out these two beauties because I felt they captured the essence of the show—luminous, lush, and breathtaking scenes of city and nature.

Aleksander includes all of the seasons in “Paris to St. Petersburg,” but winter is definitely a highlight. As for Lyuba, her still life flowers are for any time of year; warming my heart even though winter has clearly descended upon us in Charleston. While they were trained separately, the Titovets’ works have a shared style. In both “Evening in the City,” and “Paris Opera,” we see Impressionism in full-force, not to mention a very similar color palette. Aleksander is definitely more inspired by the light and shadow in his work, which depicts dusk in a city that is possibly St. Petersburg. Lyuba focuses on the detail of petals and scale, adding intrigue by placing her subject off-center so that we are able to view the outline of the Paris Opera House in the distance. To view more images from the show, please visit


"Paris Opera" Lyuba Titovets 20" x 24" Oil on Canvas

“Paris Opera”
Lyuba Titovets
20″ x 24″ Oil on Canvas 


Paris to St. Petersburg

Aleksander and Lyuba Titovets

December 1-January 30

58 Broad Street


Opening coincides with the French Quarter Art Walk on Friday, December 5 from 5-8pm.

Work of the Week: “Roses and Cider,” by Evgeny and Lydia Baranov

Posted on: October 21st, 2014 by Kristie Landing


"Roses and Cider" Evgeny and Lydia Baranov

“Roses and Cider” Evgeny and Lydia Baranov

Over a glass of bubbly cider (the beverage of the province) and a vase brimming with luscious roses, you look out across a picturesque port and sigh…. A row of houses with slate-covered facades borders a sparkling harbor. Sailboats effortlessly glide by as the Clocher Sainte-Catherine tolls the hour. It is a perfect day in Honfleur, France…the kind of day you wish to capture in a painting.

The beautiful Honfleur has always struck favor with artists, especially the Impressionists. No less than Monet, Courbet, Cals, Dubourg, Boudin, Bazille, Corot, Sisley and Jongkind have immortalized the subject in their works, providing an array of perspectives and a shared love of aestheticism. French landscape painter, Eugene Boudin described La Ferme Saint Simeon hotel in Honfleur as “the most ravishing spot in the world.” Fortunately, the scene has hardly changed over the years, prompting contemporary artists to seek out Honfleur’s old world beauty.

Born in Moscow, Evgeny and Lydia Baranov met when they were both working as architects with the Institute of Special Projects in Restoration. They married and eventually began painting together—a highly unique method of simultaneous collaboration that provides variability and depth to their works. Most of their paintings are characterized by a realistic and sometimes semi-Impressionist style infused with drama and sensation. It is hard to look at one of their works and not feel moved –“Roses and Cider” being no exception. The couple has been featured in numerous exhibitions nationwide and their works are housed in the collections of the Hearst family, the Clint Eastwood family, the Alaska Court System, the Royal Family of the United Kingdom, and others. They currently reside in Pebble Beach, California.


Notes: Some information on Honfleur gathered from Access article here.

Work of the Week: “Sea Glass,” by Karen Weihs

Posted on: October 14th, 2014 by Kristie Landing
"Sea Glass," Karen Weihs. 30" x 36" Oil on Canvas

“Sea Glass,” Karen Weihs. 30″ x 36″ Oil on Canvas

What could be more serene than this abstract seascape by Karen Weihs? She has a true gift for infusing a mood into a canvas, which she does solely armed with a palette knife. “Seascape” is the perfect mélange of colorific swipes and textural contrasts with electrifying results. This particular work echoes the natural palette of the Lowcountry, while representing Karen’s quintessential expressionist style.

Weihs is a native of Charleston who currently resides in Cashiers, NC. She received her BFA from the University of Georgia and gives credit to the influence of Professor Lamar Dodd and mentor, Frank Licciardi for first inspiring her painting style. Weihs began her professional career as a graphic designer, but sensed her true calling and moved onto oils shortly thereafter. In 1994, she received the Artist of America Award and her works are housed in the collections of The Biltmore Estate and the Mansion of Turtle Creek Restaurant.

Weihs once said, “The aim of every artist is to hold life fixed so that a hundred years later, when a stranger looks at it, it moves them again.”


The quote represented her was gathered from Karen’s website

Work of the Week: “Karibu II,” by Marianne Houtkamp

Posted on: October 9th, 2014 by Kristie Landing
"Karibu II," Marianne Houtkamp. 8.5" Bronze

“Karibu II,” Marianne Houtkamp. 8.5″ Bronze

“Karibu II,” by Marianne Houtkamp is an 18.5” bronze sculpture of an African woman swaying to an invisible drumbeat. Her posture, her gestures, and her countenance imply that this tall, strong figure is lost within herself—born again into a musical trance that is at once cultural and individual. Internationally acclaimed sculptor, Houtkamp attests to trying to capture the details of tribal people as they are, so we can assume that not only is this woman from Africa, she is perhaps representative of a specific woman and at the very least, of a particular tribe—the Samburu. Karibu means “Welcome” in Swahili.

Houtkamp was born in Amsterdam and began sculpting clay as a child. Her mother, a painter, encouraged her to begin art lessons and Houtkamp attended the academy of Frans Nijs for secondary school, where classes included clay modeling and drawing. She has studied under Johan van Wolde, who was a student of Professor Jan Bronner, a renowned sculptor. In the past 25 years, Houtkamp’s sculptures have been chosen for display in the Hague, at the headquarters of the World Food Program in Rome, at the Summer Olympics in Athens in 2004, and on a Dutch stamp. Last year, she won the second place at the ninth edition of the Florence Biennale in the Sculpture category.(1)

Yet, it is not her accomplishments that keep her going. Houtkamp lives for travel and people and her work is a testament to this combination. In addition to Africa, she has represented South America, Europe, and the Middle East. “Karibu II” is the perfect conglomeration of Houtkamp’s sculpting skill, cultural awareness, and color utilization—the piercing royal blue of the figure’s garb comes from Houtkamp’s patented color process, in which the bronze undergoes an acidic transformation to form brilliant patinas.

For more of Houtkamp’s work, visit this page.


1. This information was gathered from Marianne Houtkamp’s newest book, “Bronzes.”

Houtkamp, Marianne, Astrid Van. Galen, W. Fibbe, Erik Van. Aken, John Ruijs, and Hans Houtkamp. Bronzes. Laren: Uitgeverij Van Wijland, 2013. Print.