Paintings

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like silver deposit...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. Working with shimmery pearlescent paints and mirror-like si...

Silver nitrate deposit and acrylic on canvas.

The alchemists in their ‘Magnum Opus’ sought to cipher a ‘Philosopher’s Stone,’ a mythical substance which would not only convert common metals into precious ones, but was the key to...

Jimi Gleason introduces two exuberantly gestural, lustrous silver nitrate paintings edged with electric bands of color.

Jimi Gleason introduces two exuberantly gestural, lustrous silver nitrate paintings edged with electric bands of color.

Jimi Gleason introduces two exuberantly gestural, lustrous silver nitrate paintings edged with electric bands of color.

Jimi Gleason introduces two exuberantly gestural, lustrous silver nitrate paintings edged with electric bands of color.

Jimi Gleason introduces two exuberantly gestural, lustrous silver nitrate paintings edged with electric bands of color.

Jimi Gleason introduces two exuberantly gestural, lustrous silver nitrate paintings edged with electric bands of color.

silver deposit and acrylic on canvas

silver deposit and acrylic on canvas

silver deposit and acrylic on canvas

Signed lower right: G. Inness

acrylic on canvas

Like water, Gleason’s surfaces are quietly in motion, their iridescent paints subtly shifting hues as light plays across them. In each of the canvases, sharp diagonals bifurcate the ...

acrylic on canvas The surfaces of Jimi Gleason’s paintings have always responded to both the light and space of the environment they are in. The silver deposit paintings began in 20...

The Absorbed pieces are achieved using Gleason’s signature technique of deploying a thin coat of silver nitrate deposit over acrylic on canvas. Diverging from their ultra-gloss pred...

Much like the artists who pioneered the California Light and Space Movement, Gleason is interested in exploring the metaphysical possibilities of art. His silver deposit surfaces act...

Much like the artists who pioneered the California Light and Space Movement, Gleason is interested in exploring the metaphysical possibilities of art. His silver deposit surfaces act...

George Inness (1825 - 1894) A Cloudy Day, 1886 Oil on canvas 25 x 30 inches Signed and dated lower center Provenance: The artist Estate of the above Fifth Avenue Galleries, New York, Executor's Sale of Paintings by the Late George Inness, N.A., February 12 - 14, 1895, Lot 132 Joseph H. Spafford, acquired from the above Mrs. Spafford, by bequest from the above Leroy Ireland, New York, 1951 Ernest Closuit, Fort Worth, Texas Meredith Long & Company, Houston, Texas, circa 1960 Private Collection Shannon's Fine Art, American and European Fine Art Auction, October 27, 2016, Lot 42 Exhibited: New York, American Fine Arts Society, Exhibition of the Paintings Left by the Late George Inness, December 27, 1894, no. 90.  Literature: LeRoy Ireland, The Works of George Inness: An Illustrated Catalogue Raisonne, Austin, Texas, 1965, p. 336, no. 1324, illustrated. Michael Quick, "George Inness: A Catalogue Raisonne," Vol. II, New Brunswick, New Jersey, 2007, pp. 282-83, 311, no. 966, illustrated.  George Inness, one of America's foremost landscape painters of the late nineteenth century, was born in 1825 near Newburgh, New York. He spent most of his childhood in Newark, New Jersey. He was apprenticed to an engraving firm until 1843, when he studied art in New York with Regis Gignoux, a landscape painter from whom he learned the classical styles and techniques of the Old Masters. In 1851, sponsored by a patron, Inness made a fifteen-month trip to Italy. In 1853 he traveled to France, where he discovered Barbizon landscape painting, leading him to adopt a style that used looser, sketchier brushwork and more open compositions, emphasizing the expressive qualities of nature. After working in New York from 1854 to 1859, he moved to Medfield, Massachusetts, and four years later to New Jersey, where through a fellow painter he began to experiment with using glazes that would allow him to fill his compositions with subtle effects of light. Duncan Phillips remarked on Inness’s mellow light as a unifying force, saying, “…he was equipped to modernize the grand manner of Claude and to apply the methods of Barbizon to American subjects." At this time also, Inness developed an interest in the religious theories of Emanuel Swedenborg...

Jimi Gleason's paintings are enigmatic. They emphasize seductive surfaces, which reveal no trace of traditional paint application. These mysterious surfaces are highly reactive to li...