Jorge R. Pombo

Variation on Singer Sargent's 'The Daughters of Edward Darley Boit' (6)

2020

Signed lower left: "Kainen". Inscribed verso: "Park Musicians- Discussion Jacob Kainen '65".

Hannah Barrett’s paintings imagine a colorful, absurdist world inhabited by eccentrics of ambiguous genders and time periods. With tongue-in-cheek nods to the past, Barrett combines...

Hannah Barrett’s paintings imagine a colorful, absurdist world inhabited by eccentrics of ambiguous genders and time periods. With tongue-in-cheek nods to the past, Barrett combines...

Hannah Barrett’s paintings imagine a colorful, absurdist world inhabited by eccentrics of ambiguous genders and time periods. With tongue-in-cheek nods to the past, Barrett combines...

Unsigned

David Mellen's work is not easily defined, vacillating between human flesh and metaphoric representation, the paintings beg you to look deeper and to consider their physical properties. Duchamp, de Kooning, Bacon, Giacometti, Rothko are all direct influences for Mellen, yet he can not be strictly categorized as a representational or an abstract artist. Mellen paints forms reminiscent of human bodies, building them one day at a time for the duration of several months. An endless process of addition and subtraction is at work as the loosely defined figures emerge in sharp contrast with precisely executed geometric backgrounds of neutral colors. The juxtaposition between exposed canvas, well-defined geometric background and a form as the subject of the painting is a motif that has followed Mellen’s work through the years. The entities in Mellen’s work reference actions rather than concrete characters. For example, in Descent (2020) a fall from grace...

The sable colored mare bows her head to allow the viewer a better view of her intricate mane which is enhanced with red roses. Red-winged black birds flit around her, a symbol of protection, good luck and even prosperity. The amber rose background intensifies the softness of the horse's coat and the overall aesthetic. This painting is unframed, please contact the gallery for framing options. Rose Freymuth-Frazier Burning Desire oil on canvas 50h x 32w in 127h x 81.28w cm RFF048 Rose Freymuth-Frazier Employing the techniques of the past in the service of contemporary exploration, I seek to add a fresh voice to the sometimes venerable, sometimes dusty and archaic tradition of large-scale figurative painting, while subtly addressing the mythology, objectification and subjugation of women. My subjects are at first glance close to home-new mothers, friends, lovers, artists, dancers-but are then quickly placed at a distance via edgy modification, rigorous technique, minimal contexts and composition, and idiosyncratic use of color. I am also interested in social presentation, artifice, and simulation as they relate to my subjects. I hope to peel away a gossamer thin layer of reality, not just to document the real but also to reveal what might be. BIOGRAPHY Given my restless history, it is curious that I became a figurative painter in New York City. My maternal Grandparents fled Hitler's Germany in the late 1930's. After being refused entry to the United States, they were welcomed into the Dominican Republic, where they happily resided in a small orderly bungalow of their own design and made their living as studio photographer and cheese maker...

"I work largely with the figure, concentrating on women. In awe of the strength women behold, I feel the need to express their character through my work. I can't explain how I choose...