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Alexander Stolin
"Dry dock I" -- Oil Painting by Alexander Stolin
2024

$10,000

£7,574.96

€8,739.39

CA$14,021.18

A$15,629.89

CHF 8,226.57

MX$189,477.96

NOK 104,739.61

SEK 97,382.47

DKK 65,228.98

About the Item

ALEXANDER STOLIN, born and raised in Kiev, Ukraine (under the former Soviet Socialist Republic), where he received intensive training and a master of fine arts degree in his homeland’s traditional art academies. He immigrated to San Francisco in 1992, met his future wife in Hattiesburg, Mississippi, then married and settled in New Orleans. He maintains a home and studio in Madisonville, Louisiana, and is a significant but understated figure in the New Orleans art community. As art critic D. Eric Bookhardt suggested in 2002, “Stolin is more accomplished than he is famous.” His art, often exhibited in thematic series that incorporate a variety of media, ranges from intimate portraits to large-scale murals (one measuring twelve feet by seventy-two feet). He has worked on a progressively larger scale, most recently designing and painting projects for the Louisiana film industry. Stolin’s technically proficient and complexly layered art reflects a unique fusion of the academic training he received in Kiev and his evolving response to the very different culture, lifestyle, and subject matter he has discovered in New Orleans, Madisonville, and the Gulf South. Stolin’s Face to Face series of portraits, completed from 2000 to 2002, featured New Orleans artists including Douglas Bourgeois, Jeffrey Cook, and Margaret Witherspoon and the architect Jimmy Lamantia, as well as his Madisonville neighbors, including Bud Goldate, Hascal Agee, and Willie Lee Marshall. These were important works, exhibited at the Ogden Museum of Southern Art when it opened in 2003. “There are portraits—and there are portraits,” said Bookhardt, referring to the series. “The best tell us something essential about the subject. The rest are just pictures.” Observing that Stolin’s work “offers insights into the processes of perception,” Bookhardt concluded that “his images distill something of the subject’s life essence filtered through the eye and hand of an unusually skilled, sensitive, and increasingly accomplished painter.” A diversified range of works followed, including an exploration of his childhood memories of Kiev, enhanced by family photographs and a series of letters from Kiev to relatives in America. Stolin juxtaposed the historic and vernacular architecture of Kiev with New Orleans buildings of the same period, as is evident in a painting such as Waiting II. Another series explored the marshes and landscapes of the north shore of Lake Pontchartrain. Stolin also painted genre scenes of small-town life in Madisonville, becoming, in his own way, a southern regional painter. Works in this series included Bayou Lacombe, Breakfast at Badeaux’s, and Jr. High at Madisonville, which featured a painted image of the school’s retired bus and metal from the actual bus, fusing art, history, memory, and reality. The art Stolin began to create in New Orleans demonstrated his technical skills, knowledge of art history, and the evolving range of his subject matter, reflected from one series and exhibition to the next, yet it was challenging for critics to classify his work. This was evident in the series Stolin exhibited during his first decade in the city, beginning with Byzantium on the Bayou (1993–1994), which combined historical Byzantine art references with New Orleans and Mardi Gras subjects, such as Mardi Gras Madonna and Adoration of St. Gator. In his Midnight Dessert series (1995–1997), he created works such as Tea in Manhattan and Rembrandt and Nathan, a large painting that Bookhardt described as “a vision of Rembrandt and various Dutch masters promenading down the sidewalk past Nathan’s Deli in New York.” Following that, he completed The Water Series (1998–1999), featuring reflective and heavily worked surfaces in paintings such as Reflections #2 and Study of Fish and Swimmers. Stolin exhibited for years with the Marguerite Oestricher Gallery in New Orleans. After its closing he became associated with the Taylor-Bercier Gallery in New Orleans and continues to exhibit his art across Louisiana. His works are included in the collection of the Ogden Museum of Southern Art in New Orleans as well as in numerous corporate and private collections.

Creator:

Alexander Stolin (1963, Ukrainian)

Creation Year:

2024

Dimensions:

Height: 36 in (91.44 cm)Width: 36 in (91.44 cm)

Medium:

Oil,Canvas

Movement & Style:

Contemporary

Period:

21st Century

Condition:

Gallery Location:

New Orleans, LA

Reference Number:

1stDibs: LU105214085072

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Jim’s of Lambertville is proud to offer this artwork by: Henry Bayley Snell (1858 - 1943) Henry Bayley Snell was born in Richmond, England, on September 29, 1858 and immigrated to the United States at the age of seventeen. He studied at the Art Students League in New York while working for an etching and engraving company where he began a lifelong friendship with fellow artists, William Langson Lathrop. While in New York Snell met another artist, named Florence Francis, also of English descent, whom he would eventually marry in 1888. It is believed that they first came to Bucks County in 1898 to visit the Lathrops at Phillips Mill. Snell was a beloved teacher at the Philadelphia School of Design for Women from 1899 to 1943, and often took his art classes abroad during the summer. He would frequently visit his native England, spending time at the art colony of St. Ives on the coast of Cornwall. Snell would summer in Gloucester, Massachusetts, and Boothbay Harbor, Maine, where he also held painting classes. Almost all the women who exhibited with “The Philadelphia Ten” had studied with Snell either in Philadelphia or New England. Snell also taught on Saturdays at the Grand Central Galleries in New York City. The Snells made many trips to New Hope before settling there permanently in 1925. They lived on the top floor of the Solebury National Bank Building where Henry also maintained a studio. This was located at the foot of the New Hope-Lambertville Bridge and many of Snell’s New Hope scenes were painted from this location. In 1943, Snell passed away in New Hope at the age of eighty-four. Henry Snell earned an international reputation as an artist for his paintings of Cornwall...

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