Jeanette Fintz

Passing Through #2 (Geometric Abstract Painting in Yellow, Beige and White)

2018

Geometric and gestural abstract painting on canvas in earth tones of beige, tan, and light brown with accents of dark magenta, light sienna, and neon pink Disturbances in the Field, 2019 by Jeanette Fintz 60 x 72 x 2 inches, acrylic on canvas Signed verso Hanging wire on reverse "Disturbances in the Field" is a painting in a series of work created during the year of the pandemic. The artist explains that this painting is about "giving structure to something intangible, ephemeral, in-flux or conversely, revealing the dissolving of structure that has been.” As an abstract artist, Fintz has long been interested in the contrast of hard-edged planar geometry (circles, squares, hexagons) existing within an atmospheric field where shapes can float or hold the plane, in a space that appears expansive, transient and increasingly released from the canvas’s edge. A calculated use of opacity and transparency resulting from fluid washes of acrylic create an atmosphere where fragmented geometry becomes “a vocabulary of gestures”. This work merges white and faintly gold hard edge lines with gentle washes of blue and neutrals. Working in a space between planning and chance, Jeanette Fintz presents a series of paintings that fuse gestural and geometric abstraction. This body of work continues Fintz’s use of the circle, ellipse and hexagon; motifs that embody references to nature, architecture and the decorative arts. Jeanette Fintz is an established artist working in the Hudson Valley, NY. She has taught at the School of Design Strategies at Parsons the New School for Design, SUNY Purchase, and Pratt Institute, among other American universities. Her work is collected in both private and corporate collections worldwide. To read more about her career, please scroll down for see her detailed CV and biography. Artist Statement: My paintings evolve in a space between planning & chance, systems & spontaneity, conveying contradictions that I view as metaphors for maneuvering through “real “life. In this work I play a fairly high stakes game of improvisation around a motif. Using a working method akin to jazz, I counterpoint systematically repeated elliptical shapes against gestural pours & drips and something unexpected emerges. I am drawn to create complexity, and challenged to unify multiple layers through the physicality of the paint, which fuses & knits together, as well as, ultimately, through the power of color to stabilize & resolve. The ellipse, which is hypnotic & spatial in repetition, & monumental, but not static as a shape unto itself, embodies references to nature and to the decorative arts which are both alluded to in the paintings. (The egg, the mirror, the vulva, or the shield.) Dynamic visual rhythms, in these pieces, the momentum of the repetitive ellipse, are typical of my work and help to maintain order within complexity. Their sources for me are both musical, notably the poly-rhythms of Latin jazz, Brazilian & East Indian music, and are also derived from the decorative arts, particularly textiles. The latter have been a source of excitement, often contributing a playful aspect to the paintings. I intentionally disturb the regularity of pattern, encouraging discordance & uniqueness, and then bring it back home after finding another by - way to work things through. Color is my most intuitive source of inspiration, connecting me to nature; It is also, ironically, my most passionately calculated element. In the primal struggle among sometimes apparently random components, subtlely modulated color clarifies purpose, builds context, and holds the structure together. The intuitive rhythmic order of Jeanette’s paintings prior to 2009 which featured repetitive lines, circles and ellipses clashing with fluid gestural streams of color have given way fully in the new work to a given crystalline geometric substructure that unifies all visual events. This work embraces and employs the Oneness found in sacred geometry as the underpinning for improvised pathways that give each work its uniqueness. Shapes that are found have a “role” to play, to riff off some of Jeanette’s series titles. The earlier pieces acknowledge through the unexpected visual event, the imperfection of the human condition while the newer geometries strive for the expression of spiritual wholeness and connection. About the artist: Jeanette Fintz is an abstract painter, who resides and paints in Hudson, NY. She is also an arts writer and independent curator. The intermix of being a native New Yorker and now, happily, a resident of the lush Hudson River Valley is evident in her work, which combines an urban edginess with the lyrical influences of her natural surroundings. Ms. Fintz was born in Brooklyn NY, educated at Queens College, The New York Studio School and Boston University. Her personal amalgam of NY School formalist principles, and love of natural light and color was initially forged during her summer at the Skowhegan School of Painting & Sculpture where she painted from the Maine landscape. Ms. Fintz lived and worked in the artist communities of Tribeca and Williamsburg, exhibiting regularly in NYC. Jeanette in part, credits the importance of natural light for her decision to transplant home and studio to Surprise. Ms Fintz has filtered nature through her urban sensibility, stretching color motifs towards the heightened and intensified palette often found in the realms of design and fashion. Her pieces have a rhythmic impact stemming both from her enjoyment of jazz and poly-rhythms of Brazilian and Indian origin, which she also sees displayed in the visual rhythms found in textiles and Islamic tile patterns. Jeanette’s involvement with these resources was enhanced by sabbatical travel to Spain’s Andalusia Region (2005 & 2009) to investigate patterning systems found in Moorish tiles and architecture, and to Turkey (2013), where she focused on the Iznik, Byzantine and Greco-Roman tiles and frescoes. Jeanette also had immersed herself in textile patterns and Ikat designs during her yearlong sojourn in Malaysia, where she was founding faculty in a new Parsons School of Design affiliate in Kuala Lumpur (1996-97). Selected Grants and Awards include 2015 EYP Architecture & Engineering Award, Artists of the Mohawk Hudson Region 2015 Trustees Award, Albany Institute of History & Art 2013 Sabbatical, Parsons the New School For Design 2008 The Emil & Dines Carlsen Award / Painting, National Academy of Design 2005 Sabbatical, Parsons the New School for School Design 2005 Sudden Opportunity Stipend 2003 Faculty Development Award, Parsons, the New School for School for Design 1995-92 Sudden Opportunity Stipend, NYFA Rensselaer County Council for the Arts 1993 N Y F A, Artists Fellowship / Drawing 1990 E. D. Foundation Grant / Painting 1984 Ludwig Vogelstein Grant / Painting 1980 The Ingram Merrill Award / Painting 1975 Purchase Prize, Painting, Skowhegan School for Painting & Sculpture Ms Fintz has taught as an Assistant Professor of Art & Design, in the School of Design Strategies at Parsons the New School for Design for 17 years. At Purchase College, SUNY, Jeanette taught all levels of painting and drawing for 12 years as Assistant Professor in the BFA conservatory program. She also has taught at Pratt Institute, Brooklyn, NY, Hobart & William Smith Colleges, Geneva, NY, The University of Southern Maine, Portland, The University of the Arts, Philadelphia, PA, and SUNY, Albany. Jeanette shows her work at the Garvey Simon Gallery, New York, NY, Fox Gallery, New York, NY, Geoffrey Young Gallery, Great Barrington MA, the Thompson Giroux Gallery, Chatham NY, Cross Contemporary Gallery, Saugerties, NY. Recent projects include a solo show at Garvey Simon Gallery, NY NY (Sept. 7 - Oct, 2017), and a curatorial project, "The Ritual of Construction," at the Kleinert James Center, Woodstock Byrdcliff Guild (May 19 - July , 2017). Ms Fintz’s Residencies and Fellowships include: The MacDowell Colony, The Millay Colony for the Arts, The Ucross Foundation, and Altos De Chavon & Ossabaw Island Project. Jeanette’s selected Visiting Artist spots include Art New England, Bennington College, Bennington, VT, Ohio State University, Columbus, OH, Illinois State University, Normal, IL, Hobart & William Smith Colleges, Geneva NY. Ms. Fintz received her MFA from Boston Universtiy SFA (1975 ), and her BA from Queens College CUNY (1972). She attended the New York Studio School (1972-73), and received a scholarship to the Skowhegan School in 1975. Ms Fintz’s work can be found in many national & international collections. Collections Par Capital Management Boston MA VYV Apartments, Luxury High Rise, Jersey City, NJ Boca Raton Yacht Club, Waldorf Astoria Resort, Boca Raton, FL Liberty Mutual Insurance Company, Boston, MA, and Plano, TX Robert A.M. Stern Architectural Project, Washington DC Capital G Bank Hamilton, Bermuda Brigham & Women's Hospital, Foxboro, MA Wilmer Cutler Pickering Hale & Dorr, Boston, MA Posternak Blankstein & Lund, Boston, MA Hale & Dorr, Boston, MA Analysis Group, Boston, MA National Televison, 7 Kuala Lumpur, Malaysia Christmas Island Phosphate, Singapore Jewish Free Loan Association, Los Angeles CA Rabobank NYC Commerzbank, New York, NY Commerzbank 2, World Financial Center, New York, NY National Television 7, Kuala Lumpur, Malaysia Hobart & William Smith Colleges, Geneva, NY Skowhegan School, Skowhegan, Maine Collection of Minister of Agriculture Datuk Effendi & Datin Norwawi Collection of the Former Prime Minister Datuk Seri Dr Mahathir Mohamed of Malaysia Jim & Debbie Ellickson -Brown, Cultural Attache, American Embassy, Kuala Lumpur Malaysia (1996) Rohana Tan Sri Mahamad, Kuala Lumpur, MY Suherwan Abu, Kuala Lumpur, MY & Singapore Valentine Willie, Kuala Lumpur, MY Aloysious Goh, Singapore Betsey Swan & Chris Calder, Albuquerque NM Carrie Chen & Stanley Cohen Center Hill, Copake, NY Albert & Linda Eskenazi, Montreal, CA Barbel & Peter Starz, Toulouse, FR Clarissa & Jean Kueller, Rio de Janeiro, Brazil Mr. & Mrs. Andre Keller, K L, MY & Geneva, Switzerland Shirley Greitzer, Esq. Washington DC Mark Meltzer, Los Angeles & Palm Springs, CA Joel & Fran Soroka, Aspen, Colorado Estate of Hella and Carl Ossenberg, NYC & Palm Beach, FL Estate of Gabriel Laderman, New York, NY Stephen Westfall, New York, NY Dr & Mrs Joseph Delisi, Lake Hopatcong, NJ Dr & Mrs Chris Calder & Besty Swan, Menands, NY Carol & Joachim Frank, NY, NY Mark Pettygrove, Los Angeles, CA George A Schulman, Los Angeles, CA Gerald De Silva, Los Angeles, CA Caryl Horn, Port Richmond, CA Joe & Cathy Plumber, Cold Spring, NY Molly Doland, Esq. Washington DC Bethany Beardslee Winham, Rhinebeck, NY David Fox & Associates, Inc. Briarcliff Manor, NY Eric & Carolyn Egas, Greenviille, NY & Vieques, PR Jin Zeng, New York, NY Selected Solo Exhibitions 2017 “Worldline Schreiber Paintings, plus...," Garvey/Simon Gallery 547 W 27th St, New York, NY 2016 "The Presence of the Invisible Proposition," Koussevitsky Art Gallery, Berkshire Community College, Pittsfield, MA 2012 "Andalusian Shards," The Wall Street Journal Bldg Lobby, New York, NY 2012 "The Plaid Paintings...

Large abstract geometric painting with intricate line work in pencil and gouache on a bright yellow background "Specifically, Nowhere (Yellow)" made by Hudson Valley artist, Donise English, in 2022 gouache, acrylic, pencil, and colored pencil on paper, mounted on panel 48 x 48 inches unframed, 50 x 50 inches with a dark brown stained wood floater frame Surface is protected with four coats of an archival UV protective varnish Signed, verso Excellent condition and ready to hang This large abstract geometric painting was made by Hudson Valley based artist, Donise English, in 2022. The composition begins with a bright yellow background overlaid with intricate line work in graphite and colored pencil. Thousands of hand drawn lines serve as a backdrop for a bold geometric form in a dusty violet and dark gray gridded pattern that references "an imagined city grid", says the artist. The painting on paper is mounted to wood panel and complemented with a dark stained wood floater frame. It's in excellent condition and ready to hang as is. The surface is protected with four coats of an archival UV protective varnish. More about the work: Donise English emphasizes lines, grids, and fields of subtle color to evoke imagined places and invented structures. While precise lines and straight angles are often associated with themes in architecture and urban planning designs, English conveys a geometric motif guided by intuition rather than a ruler. Variations on grids retain flaws and unmistakable traces of the artists’ hand; her style of draftsmanship shies away from intellectualism and instead makes her compositions feel very personal. Each design is intensely intricate, incorporating gouache, acrylic, pen, graphite, ink and colored pencil. Artist Statement: My work is about the way visual diagrams present information that describes how something is made or the way it is. I am interested in drawing and collaging multiple layers of information that refer abstractly to maps, architectural drawings and blueprints or patterns and structures found in such things as roller coasters, power lines and fences. I use gouache and collaged paper in a series of layers that are a visual and ideological response to the previous layer to define my pictorial space. For each piece I create a set of rules to follow about the use of a limited palette, a grid format, opacity of paper and whether a piece may include curving lines or maintain a rectilinear structure. Artist CV: EDUCATION Master of Fine Arts in Painting Bard College 1986 Bachelor of Science in Art History State University College at New Paltz 1977 Additional Study: New York Studio School (Drawing Marathons) Columbia University, School of Architecture Women’s Studio Workshop TEACHING Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie, NY Coordinator, Interior Design Program, Florence, Italy campus 1992-present AWARDS NYFA Fellowship in Painting 2018 Invitational Award for Outstanding Contemporary Talent, University of Bridgeport, CT 2000 Purchase Prize, “11th National Juried Exhibition” College of Notre Dame of Maryland, Baltimore 1999 First Prize, “Women in the Visual Arts ‘95” Erector Square Gallery, New Haven, CT 1995 Joseph A. Cain Memorial Purchase Award for Sculpture Del Mar College, Corpus Christi, TX 1994 Honorable Mention, “National Juried Exhibition” University of Bridgeport, CT 1993 Individual Artists Fellowship in Sculpture Dutchess Arts Fund 1992/93 Tallix, Morris, Singer Internship in Sculpture Tallix Foundry, Beacon, NY 1990/91 MEMBERSHIP Royal British Society of Sculptors SELECTED JURIED/INVITATIONAL EXHIBITIONS 2020 “edu: Art Faculty of the Hudson Valley”, Hudson Valley MOCA, Peekskill, NY 2019 “Contemporary Abstraction”, Carrie Haddad Gallery, Hudson, NY “Mixed Media”, SITE Gallery, Brooklyn, NY 2018 “JuxtaPositions”, The Painting Center, New York, NY “Peculiar Rarities”, Carrie Haddad Gallery, Hudson, NY 2017 “Interlock: Color and Contrast in Abstraction”, Carrie Haddad Gallery, Hudson, NY “Donise English: Encaustics”, Catskill Art Society, Livingston Manor, NY 2016 “Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD “Under, Over, After Over”, Vassar College, Poughkeepsie, NY 2015 “Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY “Gridspace”, KMOCA, Kingston, NY “Abstraction”, Carrie Haddad Gallery, Hudson, NY “Assuming Identity”, NY Institute of Technology, New York, NY 2013 “Modern Artists”, Carrie Haddad Gallery, Hudson, NY “Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY Stone Canoe/Community Folk Art Center, Syracuse, NY 2012 New York Institute of Technology, New York, NY “Contemporary Painters (Who Just Happen To Be Women)”, Carrie Haddad Gallery, Hudson, NY “Strange Glue: Collage at 100”, Cambridge School, Weston, MA “Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY “Fresher Paint”, Rockland Center for the Arts, Nyack, NY Courthouse Gallery, Lake George Arts Project, Lake George, NY 2011 “Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”,Orange County Community College, Newburgh, NY “Gender Matters/Matters of Gender”, Freedman Gallery, Albright College, Reading, PA 2010 Carrie Haddad Gallery, Hudson, NY “Encaustics: Wax and Image”, Westchester Community College, White Plains, NY “Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY “Spring Awakening”, NY Institute of Technology, New York, NY “Clay City Dreams”, NY Institute of Technology, New York, NY “Texture,Pattern, Fragment”, Krause Gallery, Moses Brown School, Providence, RI 2009 “Collage”, NY Institute of Technology, New York, NY “Working in Wax”, Bedford Gallery, Walnut Creek, CA “Encaustic 2009”, College of New Rochelle, NY “Three Artists”, Carrie Haddad Gallery, Hudson, NY “Convergence: The Human Experience”,Howard County Center for the Arts, MD 2008 “Suckers and Biters: Love, Lollipops, and Exquisite Corpse” Chashama Gallery, New York, NY Carrie Haddad Gallery, Hudson NY 2007 “Patterns and Light”, Blue Hill Gallery, Blue Hill, ME “Suckers and Biters”, AG Gallery, Brooklyn, NY 2006 “100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art, New York, NY “On/Of Paper”,Kirkland Art Center, Clinton, NY “The Love Show”, Manchester Community College, Manchester, CT 2005 The Soap Factory, Minneapolis, MN “Small Tales”, Valdosta State University, Georgia National Juried Exhibition,Art Institute and Gallery Salisbury, MD, Juror: Stephen Haller “Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY 2004 “Women in the Middle: Borders, Barriers, Intersections” University of Wisconsin-Milwaukee “Girl Art Now”,Hera Gallery, Wakefield, RI 3 Person Exhibition, Monterey Peninsula College, Monterey, CA “The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery Poughkeepsie, NY 2003 “Beefcake/Cheesecake”,Orange County Center for Contemporary Art, Santa Ana, CA,Juror: Jamie Wilson, Curator Halpert Bienniel, Appalachian State University, Boone, NC Juror: Jeff Fleming, Senior Curator, Des Moines Art Center “The Great White Oak”, Garrison Art Center, Garrison, NY Carrie Haddad Gallery, Hudson, NY 2002 “Cat Calls”, Red Clay Arts, Brooklyn “Hudson Valley Regional”, SUNY New Paltz Juror: Sydney Jenkins, Director, Ramapo College Art Galleries 2001 One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago One-Person Exhibition, Garrison Art Center, Garrison, NY 2000 “Vision 2000...

Contemporary Abstract geometric painting in vivid shades of yellow, greys, white, and black "Ospedale III" painted by Hudson Valley, NY based painter, Anthony Finta, in 2019 36 x 24...

Geometric and gestural abstract painting on canvas in tones of blue and yellow The Illusion of Separation #8, by Jeanette Fintz in 2017 24 x 24 inches acrylic on wood panel Signed ve...

Susan Kiefer Untitled Yellow 02 (Geometric, Abstract, Gestural, Vibrant) Oil on Canvas 2023 Size: 16 x 16 x 1.25 in (40.64 x 64.64 x 3.17 cm) COA provided *On stretcher frame, galle...

Richard Andres (American, 1927-2013) White & Yellow, c. 1953 oil on canvas signed lower right, signed and titled verso 30 x 20 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller...

Susan Kiefer Untitled Yellow 01 (Geometric, Abstract, Gestural, Vibrant) Oil on Canvas 2023 Size: 16 x 16 x 1.25 in (40.64 x 64.64 x 3.17 cm) COA provided *On stretcher frame, galle...

Assembled encaustic painting fragments.