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Suzanne MearsLarge Pop Art Oil Painting "Pear" Modernist Colorful Composition Suzanne Mears
$3,600
£2,721.15
€3,127.09
CA$5,012.98
A$5,576.73
CHF 2,923.39
MX$68,146.31
NOK 37,225.76
SEK 35,042.91
DKK 23,342.54
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About the Item
Bold, colorful, still life oil painting of a pear. In lush, vibrant color.
SUZANNE WALLACE MEARS
During college she focused on painting and clay. Then it became photography and clay, then only clay,
then kiln formed glass and today its kiln formed glass, painting and plasma cut steel sculpture. She also works in oil paint and encaustic. Reminiscent of the color works of Jim DIne and the fruit paintings of Tom Seghi.
She never works with only one medium. She uses color and texture to create energetic, luminous, joyous works
with the glass. Bright, bold color using reds, blues, oranges reflect my travels in color saturated countries such as Tibet, Nepal, China and Mexico. At random I use solid color fields as a challenge to my driving love of vibrant color. Her favorite themes are inspired by nature and antiquity. Kiln formed glass uses flat sheets of glass which are cut into shapes, layered and incorporate accessory elements of frits, copper wire and mesh, pieces of sheet copper
or brass and dichroic glass fired in a kiln.
EDUCATION
BA, University of Iowa, Iowa City, Iowa, 1964
Graduate School, 44 hours, double major
Summer School University of Wisconsin, Madison, Wisconsin 1963
Master Class, Patty Gray Instructor, tde Glass Furnace, Turkey
Master Class, Richard La Londe, Whidbey Island, Washington
EXHIBITIONS
2017 Suzanne Wallace Mears' Studio, Oklahoma City, Oklahoma, Raku Mask Firing
2016 Howell Gallery, Oklahoma City, Oklahoma, Howell October Show
2015 Suzanne Wallace Mears Studio,Oklahoma City, Oklahoma, Telling Tribal Tales
2015 Pippin Contemporary, Santa Fe, NM,The Art and Soul of Color
2014 Suzanne Wallace Mears' Studio, Oklahoma City, Oklahoma, Celebrate Valentines Day
2012 Howell Gallery, Oklahoma City, Oklahoma, New Work
2012 Pippin Contemporary, Santa Fe, NM, Tribal Exploration, Part II
2011 Howell Gallery, Oklahoma City, Oklahoma,Tribal Music
2009 Suzanne Wallace Mears' Studio, Oklahoma City, Oklahoma, Tribal Exploration,
2008 Suzanne Wallace Mears' Studio, Oklahoma City, Oklahoma, Flying Solo
2008 Joseph Gierek Fine Art, Tulsa, Oklahoma, Images and Allegories
2008 Basalt Gallery, Basalt, Colorado, Sandia and Mears
2007 Raffine', Oklahoma City, Oklahoma, Raffine' Presents
2006 Studio Swan, Serenbe, Georgia, Kiln formed Glass
2005 Raffine', Oklahoma City, Oklahoma, Glass and Painting
2003 Taylor's Contemporanea, Hot Springs, Arkansas, Wall of Glass
1996 Suzanne Wallace Mears' Gallery, Carbondale, Colorado, New Work
1990 Hong Kong, ceramic and collage Dancing with Color
1990 Joanne Lyon Gallery, Aspen, Colorado, Double Take
GROUP EXHIBITIONS
2018 "In Living Color," Pippin Contemporary, Santa Fe, New Mexico
2018 12 x 12, Oklahoma Visual Arts Coalition, Oklahoma City, Oklahoma
2018 "Autumn Pop-Up", Nault Fine Art, Oklahoma City, Oklahoma
2017 12 x 12, Oklahoma Visual Arts Coalition, Oklahoma City, Oklahoma
2017 syd entel gallery, Safety Harbor, Florida "An Emotional Journey Through Color
2015 IAO, All artist show, Oklahoma City, Oklahoma
2015 Line Gallery, Group show invitational, Oklahoma City, Oklahoma
2015 Painting in the Courtyard, Howell Gallery, Oklahoma City, Oklahoma
2015 Art Now, Invitational, Oklahoma Contemporary, Oklahoma City, Oklahoma
2015-16 Ballet Oklahoma, annual fund-raising event, Oklahoma City, Oklahoma
2006-15 12 x 12, Oklahoma Visual Arts Coalition, Oklahoma City, Oklahoma
2014 Pippin Contemporary Group Show, Santa Fe, NM, June
2014 Oklahoma Festival of the Arts, Sculpture Park, April
2014 Femme Fatales, Joseph Gierek Fine Art, Tulsa, Oklahoma, April
2013 National Water Media Oklahoma Exhibition, Oklahoma City, Oklahoma
2013 Pippin Contemporary, Santa Fe, NM, Group Show, 2013
2012-16 Painting in the Courtyard, Howell Gallery, Oklahoma City, Ok
2012 What's the Journey All About, Pippin Contemporary, Santa Fe, NM, Augus
2012 Choices, YWCA Campaign, Oklahoma City, Oklahoma, 2012
2013-14-15 Oklahoma Festival of the Arts Sculpture Park, Oklahoma City, Oklahoma
2012 Los Angeles Art Expo, Pippin Contemporary, Santa Fe, NM, January
2011 All Gallery Show, Pippin Contemporary, Santa Fe, NM
2011 Oklahoma Friendly, Oklahoma Art Guild, Juried Show, Oklahoma City, Oklahoma
2011 Reigning in the Arts, Oklahoma Art Guild, Oklahoma City, Oklahoma
2010-14 Red Dot, IOA Gallery, Oklahoma City, Oklahoma
2010 A Party Different, Invitational, Allied Arts, Oklahoma City, Oklahoma
2010 All Gallery Artists, Howell Gallery, Oklahoma City, Oklahoma
2009 The Container Show, PAA, juried, Oklahoma City, Oklahoma
2009 Price Tower Arts Center, international invitational juried show, Bartlesville, Oklahoma
2007 All Gallery Artists, Janne Fine Art, Carefree, Arizona
2008-14 Oklahoma City Art Museum annual fund-raising event invitational
2008-15 Free to Live, annual fund-raising event
2008 Dinner in the Deuce, Invitational, Untitled Gallery, Oklahoma City, Oklahoma
2008-15 Refreshing the Palette, The Metro, Invitational
2001,10,11 Cafe City Arts Invitational, Oklahoma City, Oklahoma
1997-2006 All Gallery Artists Show, Hayden Hays Gallery, Colorado Springs,
MEMBERSHIPS
2017 Independant Artists of Oklahoma
2017 Oklahoma Contemporary Museum of Art
2017 Myriad Botanical Gardens
1998-2017 Oklahoma Visual Arts Association
2007-2017 Glass Art Society
2006-2017 Oklahoma City Museum of Art
2009-2017 Paseo Arts Association
2008-2017 Oklahoma Art Guild
2011-2017 New Mexico Glass Alliance
- Creator:Suzanne Mears (American)
- Dimensions:Height: 47 in (119.38 cm)Width: 36 in (91.44 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU38216673862
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Her painting has been included in two Whitney Museum Biennials and various other museum group exhibitions both in the United States, Europe and Latin America.
She has had numerous one person shows in galleries such as: Sideshow Gallery New York, Fischbach Gallery, New York City, Corcoran Gallery of Art, Washington D.C., Willard Gallery, New York, Graham & Sons Gallery, New York, The Clocktower, New York City, and the National Arts Club among others.
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"Since 1973, while myriad styles, movements and mediums have flourished briefly in turn, Joan Thorne has steadfastly developed one visual language-that of painterly surface, light, color and distilled form-which she finds best suited for her artistic project: intimating dreams. intuitions and the psychic consequences of travel. "
"For there is something luxuriant and mysterious in Thorne's compositions. They have a classic modernist genealogy that encompasses Arthur Dove, Georgia O'Keeffe, Marsden Hartley, Milton Avery and Mark Tobey; yet each carries a hint of exoticism, "
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Education
Hunter College, New York, M.A.
New York University, New York, B.S.
Awards
2006 Adolf Gottlieb Foundation Grant in Painting
2003 Prize in Painting, Florence BiennaleInternazionale, Florence, Italy
2001 Pollock Krasner Foundation Grant in Painting
1986 Prix de Rome, American Academy in Rome
Pollock Krasner Foundation Grant in Painting
1983 National Endowment for the Arts, Fellowship in Painting
1980 New York State Council on the Arts, Grant for Painting
1979 National Endowment for the Arts, Fellowship in Painting
1976 Grant in Painting, Rhode Island State Council on the Arts
1975 New York State Council on the Arts, Grant for Painting
1974 Grant in Painting, Rhode Island State Council on the Arts
1972 Artist of the Year, Aldrich Foundation
Select Solo Exhibitions
2015 Black and White Into Color, National Arts Club, New York
2013 Sideshow Gallery, Williamsburg, NY
2005 Chris Winfield Gallery, Carmel, CA
2004 Klaus Steinmetz Arte Contemporaneo, San Rafael de Escazu, Costa Rica
2002 Feria de Arte International Arcale, Salamanca, España
2001 Andre Zarre Gallery, New York
2000 Retrospective: Museo Las Americas, San Juan, Puerto Rico
1998 A Retrospective: Museo Voluntariado De Las Casas Reales, Casa de Bastidas,
Santo Domingo, Dominican Republic
1990 1985 Graham Modern , New York City, NY
1989 1986 Ruth Bachofen Gallery, Santa Monica, CA
1986 William Halsey Gallery, Simon Center for the Arts, College of Charleston, Charleston, SC
1983 Lincoln Center Gallery, Lincoln Center, New York City, NY
Dart Gallery, Chicago, IL
Gloria Luria Gallery, Bay Harbor Island, FL
1982 Nina Freudenheim Gallery, Buffalo, N
1980 Willard Gallery, New York
1979 The Clocktower: Institute for Art and Urban Resources, New York City, NY
1977 Galerie Veith Turske, Cologne Art Fair, Cologne, Germany
1974 Fischbach Gallery, New York City, NY
1973 Corcoran Gallery of Art, Washington, DC
Select Group Exhibitions
2019 Art On Paper, March 2019, New York, NY
2018 Sideshow Gallery, The Greatest Show On Earth, Williamsburg, NY
2015 Outside The Lines/Modernist Drawings, National Arts Club, NY
2014 "National Arbor Day Show", National Arts Club, New York, NY
ArtHamptons Fair, July 10-13, East Hampton, NY
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2012 Art Southampton, International and Contemporary Modern Art Fair, Hollis Taggart
2010 Janet Kurnatowsky Gallery, New York
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2002 Gallery Uno 'Spazio Su Misura, Milan, Italy
1991 Andre Emmerich Gallery, "Abstract Painting of the 90's", curated by Barbara Rose.
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Provenance: Babcock Galleries (bears their label verso.) signed verso with artists monogram signature.
Marylyn Dintenfass (born 1943) is an American painter, printmaker, and sculptor. She is primarily known for her oil paintings, which use a dynamic color palette and lexicon of gestural imagery to explore dualities in the human experience and everyday sensual pleasures.
Marylyn Dintenfass was born in 1943 in Brooklyn, New York and spent most of her early years in Brooklyn and then Long Island. She attended Queens College, and graduated in 1965 with a bachelor's degree in Fine Arts. During this time, the artist worked with Abstract Expressionist painter John Ferren and muralist Barse Miller. Marilyn Dintenfass explored new media and developed her own reaction to abstract expressionism with color, line, and gesture. Dintenfass acquired an appreciation for a broad range of materials that led to major sculpture installations composed of ceramic materials, steel, lead, wood, wax and a variety of pigments and epoxies.
Following a tour of museums in Amsterdam, Paris and Rome, the artist made her way to Jerusalem in 1966. During this journey, the artist worked with painter Ruth Bamberger, studied etching and mingled with the artists and intellectuals of the city. The result was Dintenfass's first architectural commission, to design the “Pop Op Disco,” Jerusalem's first disco. This commission allowed her to work with an array of materials to employ shapes, surfaces, textures, colors, and lights, all of which coalesced in her consciousness that would become important components of her mature personal visual vocabulary. Dintenfass also married and started her family during these years.
Art critic Meredith Mendelsohn writes, “Dintenfass uses luscious colors, repetitive forms, and a gestural intensity that combines Abstract Expressionism and Pop Art.”
Dintenfass often works with oil paint on wooden panels fragmented into parts of a grid. "After completing a painting," writes curator and critic Lilly Wei in a study of Dintenfass' work, "Dintenfass literally takes it apart, treating each panel as a discrete entity, exchanging panels between works in an aesthetic mix and match as she searches for interactions and relationships of color and form that satisfy her sense of visual excitement, sparked by the frisson of the dissonant." In an interview with critic Irving Sandler, Dintenfass speaks of the grid as a necessary, formal restraint for the passion of the gestural marks it contains. Joyce Robinson illuminates; “Dintenfass is at heart, though, a painter, and the grid, with its reference to and notion of modular parts, has remained central to her artistic enterprise, functioning as a kind of Apollonian matrix holding in check the exuberant, vividly colored abstractions of this essentially Dionysian artist.”
Lilly Wei adds, "Ultimately, however, Dintenfass is more sensualist than theorist, and her paintings owe much of their allure to their materiality and the dazzle of color. Her array of ripe, radiant, saturated hues—a palette of gorgeous diversity—can be silkily smooth and nuanced; boldly exuberant; or edgily, feverishly discordant."
The artist's abstract imagery usually appears in her work as various forms of stripes or circles arranged across translucent layers of alternating matte and high gloss textures. In a conversation with gallery owner, John Driscoll, Dintenfass likens these symbols to language that predates the written word, saying her "work relates to communication through the visceral channel." Rooted in autobiography, the artist's paintings also examine the contrast between what she calls the “micro” and the “macro.” At times the shapes simultaneously resemble cells under a microscope and visions of the cosmos. Dintenfass' themes explore the dualities of everyday pleasures; depending on the focus of a series, her symbols might conjure characters, candies, car wheels, or paint itself.
Although known for her paintings, Dintenfass was first recognized for her sculptural installations. Her innovative use of mixed media (ceramics, epoxies, wax, pigments, steel, lead, wood, etc.) transformed understanding of what a “ceramic” work of art could be and firmly fixed her position and influence among a generation of mixed media artists expanding the traditional definitions and boundaries of object and materials to create modern art. The results came as architectural reliefs and installation sculpture unique to her organic but structural personal style. Similar to her paintings, Dintenfass developed a modular language of symbols, amalgams of line and curve, which she would combine to create detailed pictographic languages all her own, what she has called “organic alphabets.” As Ted Castle relates, “Ideas are furtive elements, stolen from the matrix, so as to be reformed by human genius into something unforeseen—a poem, a painting, a game of dominoes, a television set, a brick, a tile, a cup. Marylyn Dintenfass is a master of the transformation of ideas into palpable form.”
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