Posts Tagged ‘art’

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?

I Left My Heart in San Francisco

Posted on: August 3rd, 2015 by Kristie Landing

 

Two out of four of our emerging artists, whose exhibition opens at the gallery this Friday share a similar background: Both are oil painters, both were born in South Korea and now reside in San Francisco. We asked Sung Eun Kim and Jin Hee Lee why they moved to the states and what about the Bay Area inspires them.

 

Sung Eun Kim

Sung Eun Kim in his studio

 

SEK: I have always dreamed of living in San Francisco. I first learned about the city from watching the movie “The Rock” when I was very little.  I immediately fell in love with the unique landscape – city, hills, ocean views, etc. I was fortunate to be able to get a green card through my family and decided to look at schools in the United States. The moment I saw that there was an art school in San Francisco, I knew I had to apply. San Francisco provides me with endless inspiration for painting; I’ve lived here for 10 years now and never tire of its diverse beauty.

 

                 

 

 

 

Jin Hee Lee in her studio

 

JHL: I was born and raised in Seoul, where I felt stifled under conservatism and the regulations on society. I felt pressure to be competitive and hated the strict rules that governed my life. Korean society is very closed, while American culture promotes opportunity and openness. That’s why I decided to move to the U.S.     Now I live in San Francisco where the weather is always gentle and people are open to new ideas.

 

Hope   copy

 

*All images are linked to the website for more information and pricing. Please contact the gallery at 843-722-3660 if you are interested in purchasing artwork.

In Progress

Posted on: July 27th, 2015 by Kristie Landing

Artists Alex Radin, Lana Svirejeva, Sung Eun Kim, and Jin Hee Lee have been hard at work preparing for our upcoming Emerging Artists Exhibition!

Here’s Alex Radin’s “Flow” in progress:

Progress

 

And complete!

Complete

 

 

All Emerging Artists works are available for pre-sale before the show opens August 7. Please visit our website: http://ellarichardson.com/artists.php to view available works.

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″
Lithograph

 

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

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 http://www.ellarichardson.com/paintings.php?artID=117

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

Window Shopping

Posted on: April 23rd, 2015 by Kristie Landing

Sail away with us into a summery paradise…

 

"The New Sail" Evgeny & Lydia Baranov 36" x 48", Oil on Canvas

“The New Sail”
Evgeny & Lydia Baranov
36″ x 48″, Oil on Canvas

 

"'La Jeannette' at Full Sail" Evgeny & Lydia Baranov 24" x 30", Oil on Canvas

“‘La Jeannette’ at Full Sail”
Evgeny & Lydia Baranov
24″ x 30″, Oil on Canvas

 

"Rockville Sunset"  J. Christian Snedeker 36" x 48," Oil on Canvas

“Rockville Sunset”
J. Christian Snedeker
36″ x 48,” Oil on Canvas

Window Shopping

Posted on: April 9th, 2015 by Kristie Landing

Spring is in the air and it is a gorgeous day to be strolling Broad Street. Pop into the gallery for a peek at some of our newest works!

 

"Grand Illusion" Jeff Jamison  24" x 36" Oil on Canvas

“Grand Illusion”
Jeff Jamison
24″ x 36″ Oil on Canvas

 

 

"Grapes and Vase"  Frans Van der Wal   16" x 20"  Oil on Panel

“Grapes and Vase”
Frans Van der Wal
16″ x 20″ Oil on Panel

 

 

"King Street"  Simon Balyon  24" x 36" Oil on Canvas

“King Street”
Simon Balyon
24″ x 36″ Oil on Canvas

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

 

Notes:

1. Biographical information seen here was sourced from the Gibbes Museum of Art’s blog. http://www.gibbesmuseum.org/gibbes_blog/?p=2473

#MWSecrets

Posted on: March 23rd, 2015 by Kristie Landing

Ready for some secrets from our gallery? Here are two that we are more than happy to share! Happy International Museum Week!

 

1. Artist Karen Weihs has a knack for seeing forms emerge from nothing. A prime example? Her ability to see the sky and marsh as interchangeable in many of her works. Karen has more than once started a painting and flipped it over halfway, deciding that she liked it inverted better. Take a look at the works below & let us know what you think!

 

 

 

 

 

 

 

2. Our lovely bronze lady “On the Beach” by Marianne Houtkamp is so heavy you usually wouldn’t lift her to turn her around. But, if you happen to do this, there is a sweet surprise in the shape of a beautiful sun hat that she holds behind her back!

“On the Beach” FRONT

 

"On the Beach" BACK

“On the Beach” BACK

Window Shopping

Posted on: March 21st, 2015 by Kristie Landing

Bright colors seem appropriate for the second day of spring, wouldn’t you agree?

 

"Sunday on the Cove" Karen Weihs 24" x 24", Oil on Canvas

“Sunday on the Cove”
Karen Weihs
24″ x 24″, Oil on Canvas

 

"Brink" Karen Weihs 40" x 40", Oil on Canvas

“Brink”
Karen Weihs
40″ x 40″, Oil on Canvas

 

"'La Jeannette' at Full Sail" Evgeny & Lydia Baranov 24" x 30", Oil on Canvas

“‘La Jeannette’ at Full Sail”
Evgeny & Lydia Baranov
24″ x 30″, Oil on Canvas

 

 

Window Shopping

Posted on: February 21st, 2015 by Kristie Landing

 

Our windows are looking toward the past & the future as we approach spring. Stop by to view these beauties on this sunny Saturday!

 

"Evening in the City," Aleksander Titovets. 20" x 24," Oil on Canvas

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

 

"Gilt and Shadows in Late Afternoon," Lindsay Goodwin. 24" x 36," Oil on Canvas.

“Gilt and Shadows in Late Afternoon,” Lindsay Goodwin. 24″ x 36,” Oil on Canvas.

 

"Rockville Sunset," J. Christian Snedeker. 36" x 48," Oil on Canvas

“Rockville Sunset,” J. Christian Snedeker. 36″ x 48,” Oil on Canvas

 

Gazing at the Sky: A quick word with Lowcountry artist J. Christian Snedeker

Posted on: February 12th, 2015 by Kristie Landing

 

JCS

 

Chris Snedeker, more formerly known as the local artist J. Christian Snedeker, creates realistic landscapes of our beloved Lowcountry in his newest show at Ella W. Richardson Fine Art, entitled “Southern Landscapes.” He hits on all the major points of interest in Charleston—from the seashell- strewn beaches to the Angel Oak Tree, while also capturing quiet moments in the marshes of Rockville and the Cumbahee Rice Fields. I sat down with Chris to gain some insight into his artistic world.

ABOUT HIS PROCESS:

Chris begins with a concept. As an idea brews in his mind, he sees the outline of a work emerge and evolve. Starting with a monochrome base, he lays the foundation for a composition that will soon be bursting with pigment. Suddenly, the image in his mind shifts and he is thrown in a completely different direction. “Especially with skies,” he says, “I’ll have a painting laid in and before I know it, the clouds are moving and the light is shifting, just like the subject.”

HIS EXPERIENCE:

Chris began his professional artistic career as a woodworker, designing and carving up furniture for the home and office. While he kept his hands busy, he never felt creatively satisfied. “A woodworking project is usually a step-by-step progression that leads to a preconceived design. Inspiration is rarely involved beyond the initial design,” he explains. It is not only the creation process, but also the spontaneous freedom of painting that allows Chris to fully realize his potential.

THE MAN BEHIND THE CLOUDS:

What a lot of Chris’ patrons don’t know is that the artist grew up sailing and surfing on the Great South Bay in Long Island. His ancestors came to America in the mid-1600’s, establishing residence and opening up a tavern in New Amsterdam (New York) near what is now Wall Street. While he is a Yankee by birth, he claims to be entirely southern at heart—“I lived on the south side of Long Island,” he quips. Not to mention, Chris frequently visited Charleston as a child and has called the Holy City home for over 30 years.

 

"Moonrise over Cumbahee Rice Fields," J. Christian Snedeker. 36" x 48" Oil on Canvas

“Moonrise over Cumbahee Rice Fields,”
J. Christian Snedeker.
36″ x 48″ Oil on Canvas

Hemingway in Cuba

Posted on: February 3rd, 2015 by Kristie Landing

 

"Cojimar" 36" x 48" Oil on Canvas

“Cojimar”
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?