Marian D. Harris

East Indian (Impressionist Figure)

1925

Ann Brockman (1895–1943) was an American artist who achieved success as a figurative painter following a successful career as an illustrator. Born in California, she spent her childhood in the American Far West and, upon marrying the artist William C. McNulty, relocated to Manhattan at the age of 18 in 1914. She took classes at the Art Students League where her teachers included two realist artists of the Ashcan School, George Luks and John Sloan. Her career as an illustrator began in 1919 with cover art for four issues of a fiction monthly called Live Stories. She continued providing cover art and illustrations for popular magazines and books until 1930 when she transitioned from illustrator to professional artist. From that year until her death in 1943, she took part regularly in group and solo exhibitions, receiving a growing amount of critical recognition and praise. In 1939 she told an interviewer that making money as an illustrator was so easy that it "almost spoiled [her] chances of ever being an artist."[1] In reviewing a solo exhibition of her work in 1939, the artist and critic A.Z Kruse wrote: "She paints and composes with a thorough understanding of form and without the slightest hesitancy about anatomical structure. Add to this a magnificent sense of proportion, and impeccable feeling for color and an unmistakable knowledge of what it takes to balance the elements of good pictorial composition and you have a typical Ann Brockman canvas."[2] Early life and training Brockman was born in Northern California in 1895 and spent much of her youth in nearby Oregon, Washington, and Utah.[1][3] She met the artist William C. McNulty in Seattle where he was employed as an editorial cartoonist. They married in March 1914 and promptly moved to Manhattan where he worked as a freelance illustrator.[4][5] At the time of their marriage, Brockman was 18 years old.[6] Over the next few years, her career generally followed that path that her husband had previously taken. His art training had been at the Art Students League beginning in 1908; she began her training there after moving to New York in 1914.[1] After an early career as an editorial cartoonist, he freelanced as a magazine and book illustrator beginning in 1914; she began her career as a magazine and book illustrator in 1919.[7] He embarked on a teaching career in the early 1930s and not long after, she began giving art instruction.[8][9] While they both adhered to the realist tradition in art, their usual subjects were different. His prominently depicted urban cityscapes in the social realist whereas hers generally focused on rural landscapes. He was best known for his etchings and she for her oils and watercolors.[8][10] Brockman returned to the Art Students League in 1926 to take individual instruction for a month at a time from George Luks and John Sloan.[1] Despite their help, one critic said McNulty's "sympathetic encouragement and guidance" was more important to her development as a professional artist.[11] Career in art In the course of her career as illustrator, Brockman would sometimes paint portraits of celebrities before drawing them, as for example in 1923 when she painted the French actress Andrée Lafayette who had traveled to New York to play title role in a film called Trilby.[12] She would also sometimes accept commissions to make portrait paintings and in 1929 painted two Scottish terriers on one such commission.[13] During this time, she also produced landscapes. In 1924 she displayed a New England village street scene painting in the Second Annual Exhibition of Paintings, Watercolors, and Drawings in the J. Wanamaker Gallery of Modern Decorative Art.[14] Available sources show no further exhibitions until in 1930 a critic for the Boston Globe described one of her portraits as "well done" in a review of a Rockport Art Association exhibition held that summer.[15] Between 1931 and her death in 1943, Brockman participated in over thirty group exhibitions and five solos.[note 1] Her paintings appeared in shows of the artists' associations to which she belonged, including the Rockport Art Association, Salons of America, Society of Independent Artists, and National Association of Women Painters and Sculptors.[17][19]Between 1932 and 1935, her paintings appeared frequently in New York's Macbeth Gallery.[20][23][25][27] She won an award for a painting she showed at the Art Institute of Chicago in 1940.[41] In 1942, the Whitney Museum bought one of the paintings she showed in its Biennial of that year.[10] Critical praise for her work steadily increased during the decade that ended with her untimely death in 1943. In 1932, her painting called "The Camera Man" was called "a clever piece of illustration."[21] Three years later, a painting called "Small Town" gave a critic "the impression of freshness, honesty, and skill".[29] In 1938, a critic described her "Folly Cove" as "masterful" and said "Pigeon Hill Picnic" was "sustained by excellence of execution".[48] At that time, Howard Devree of the New York Times saw "evidence of gathering powers" in her work and wrote "she imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Three years later, a Times critic reported Brockman had "set herself a new high" in the watercolors she presented,[52] and another critic said the gallery where she was showing had not "for some time" shown "so outstanding a solo exhibitor as Ann Brockman."[2] Shortly before her death, a critic for Art News maintained that she was "one of America's most talented women painters".[46] After she had died, a critic said Brockman's paintings "displayed real power", adding that she was "highly rated among the nation's professional artists" and was known to give "aid and encouragement, always with a smile," both artists and to her students.[10] in reviewing the memorial exhibition at the Kraushaar Galleries held in 1945, reviewers wrote about the strength and vibrancy of her personality, the quality of her painting ("every bit as good, possibly better than people had thought"),[53] called her "one of the best of our twentieth century women painters", and credited "her sense of the vividness of life" as a contributor to "the unusual breadth that is so characteristic of her work.[11] One noted that her work was "widely recognized throughout the country" and could be found in the collections of prominent museums, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Art Institute of Chicago.[54] Writing in the Times, Devree wrote, "even those who had followed the steady growth of this artist for more than a decade, each successive show being at once an evidence of new achievement and an augury of still better work to come, may well be surprised at the combined impact of the selected paintings in the present showing,"[55] and writing in the Brooklyn Daily Eagle, A.Z Kruse said she had made "extraorginary accomplishments", painted with "inordinate distinction" showing a "lyrical majesty," and possessed "a keen esthetic sense which did not deviate from truth."[54] Artistic style (1) Ann Brockman, undated drawing, black chalk on paper, 18 x 22 inches (2) Ann Brockman, High School Picnic, about 1935, oil on canvas, 34 1/4 x 44 1/4 inches (3) Ann Brockman, untitled landscape, about 1943, watercolor and pencil on paper, 15 1/4 x 22 1/2 inches (4) Ann Brockman, North Coast, undated watercolor, 21 1/2 x 30 inches (5) Ann Brockman, On the Beach, 1942, watercolor on paper, 16 1/2 x 20 inches (6) Ann Brockman, Lot's Wife, 1942, oil on canvas, 46 x 35 inches (7) Ann Brockman, New York Harbor, 1934, watercolor on paper, 13 1/2 x 19 1/4 inches (8) Ann Brockman, Youth, 1942, oil on board, 13 1/2 x 11 1/2 inches Brockman was a figurative painter whose main subjects were rural landscapes and small-town and coastal scenes. She worked in oils and watercolors, becoming better known for the latter late in her career. Most of her paintings were relatively small. Although she made figure pieces infrequently, the nudes and circus and Biblical scenes she painted were seen to be among her best works. In 1938, Howard Devree wrote: "Her gray-day marines and coast scenes are familiar to gallery goers and are favorites with her fellow artists. Her figure pieces have attained a sculptural quality without losing warmth or taking on stiffness. One spirited circus incident of equestriennes about to enter the big tent compares not unfavorably with many of the similar pictures by a long line of painters who have been fascinated by the theme. She imparts a dramatic feeling to landscape. She even manages this time to do trees touched by Autumn tints without calendar effect, which is no small praise."[51] Similarly, a critic for Art Digest wrote that year: "Fluently and virilely painted, [her] canvases suggest a close affinity between nature and humans. The artist takes her subjects out in the open where they may picnic or bathe with space and air about them. A fast tempo is felt in the compositions of restless horses and nimble entertainers busily alert for the coming performance. Miss Brockman is also interested in portraying frightened groups of people, hurrying to safety or standing half-clad in the lowering storm light."[56] Her palette ranged from vivid colors in bright sunlight to somber ones in the overcast skies of stormy weather. Of the former, one critic spoke of the rich colors and "sun-drenched rocks" of her coastal scenes and another of her "summery landscapes of coves and picnics."[11][50] Of the latter, Howard Devree said she "painted so many moody Maine coast vignettes of lowering skies and uneasy seas that artists have been heard to refer to an effect as 'an Ann Brockman day'".[57] Brockman's handling of Biblical subjects can be seen in the oil called "Lot's Wife", shown above, Image No. 6. Her watercolor called "On the Beach" and her oil portrait called "Youth" may both indicate the "sculptural quality" that Devree said was typical of her figure pieces (Image No. 8, above). An example of Brockman's bright palette in a typical summer theme is the oil painting called "High School Picnic" shown above, Image No. 2. Next to it is a painting, an untitled landscape of about 1943 whose medium, watercolor on paper, shows off the sunny palette she often used (Image No. 3). Among the darkest of her works was an untitled 1942 drawing she made in black chalk (shown above, Image No. 1). In a book called Drawings by American Artists (1947), the artist and art editor Norman Kent noted that this study influenced her painting through its use of "forms" that were "elastic" and suggested "color". He said its "massing of dark and light" created "a definite mood" that was "impressionistic" and had "the strength of a man's work".[58] Brockman's undated watercolor called "North Coast" (shown above, Image No. 4) is an example of the paintings to which Kent referred. Illustrator (9) Ann Brockman, cover, March 12, 1917, Every Week magazine (10) Illustration of an article, "The Taking of a Salient" by Henry Russell...

Randall Exon (b.1956). Matthew, 1990. Oil on wood panel. Measures 24 x 36 inches. Unframed. Excellent condition with no damage or conservation. Signed and dated lower right. Gallery stamp on verso. Plastic wall mount taped down on verso. Provenance: The More Gallery INC, Philadelphia; Aramark Corporate Collection. Randall Exon (b. 1956) was born in Vermillion, South Dakota. Exon earned his B.F.A. in painting from Washburn University in Topeka, Kansas, and an M.F.A. at the University of Iowa. In 2003, the James A. Michener Art Museum in Doylestown, Pennsylvania, staged a solo exhibition of his work. He was awarded the Thomas Benedict Clarke Prize in the 2004 179th Annual Invitation Exhibition of Contemporary American Art at the National Academy Museum and School of Fine Arts, New York. More recently, Exon’s work was featured in Visions of the Susquehanna, a traveling exhibition organized by the Lancaster Museum of Art, Pennsylvania, in 2008, and Haunting Narratives, a major exhibition at the Woodmere Art Museum, Philadelphia, in 2012. BORN 1956 Vermillion, SD EDUCATION 1982 M.F.A. in Painting, University of Iowa, Iowa City, IA 1981 Skowhegan School of Painting, Skowhegan, ME 1981 M.A. in Painting, University of Iowa, Iowa City, IA 1978 B.F.A. in Painting, Washburn University, Topeka, KS SOLO EXHIBITIONS 2013 Hirschl & Adler Modern, New York, NY 2009 Hirschl & Adler Modern, New York, NY 2007 Hirschl & Adler Modern, New York, NY 2004 Hirschl & Adler Modern, New York, NY 2003 Randall Exon: A Quiet Light, James A. Michener Art Museum, Doylestown, PA 2001 Mulvane Museum of Art, Topeka, KS 2000 More Gallery, Philadelphia, PA 1998 More Gallery, Philadelphia, PA 1996 More Gallery, Philadelphia, PA 1994 More Gallery, Philadelphia, PA 1993 Tasis England American School, Main Gallery, Thorpe, Surrey, England 1992 More Gallery, Philadelphia, PA Theatre Gallery, Washburn University, Topeka, KS Widener University Art Museum, Chester, PA 1990 Charles More Gallery, Philadelphia, PA 1988 West Chester University, McKinney Gallery, Mitchell Hall, West Chester, PA Charles More Gallery, Philadelphia, PA Carleton College, Northfield, MN 1987 University of Maine at Machias, University Gallery, ME Topeka Public Library, Central Gallery, KS 1986 More Gallery, Philadelphia, PA 1984 More Gallery, Philadelphia, PA Stoneybrook School, Suffolk, Long Island, NY 1981-82 Florence Wilcox Gallery, Swarthmore College, PA Beauchamp Gallery, Topeka, KS SELECTED GROUP EXHIBITIONS 2019 Unforeseeable Thereness, Stanek Gallery, Philadelphia, PA 2018 Vis-à-Vis, Hirschl & Adler Galleries, New York, NY 2017 The New Baroque, Booth Gallery, New York, NY, curated by Robert Zeller Painted Landscapes: Contemporary Views, Heritage Museums and Gardens, Sandwich, MA 2016 Mixed Environs: Contemporary Painters, Lore Degenstein Gallery, Susquehanna University, Selinsgrove, PA 2015 Home is Where the Art Is, Hirschl & Adler Galleries, New York, NY 2014 Our American Life, Hirschl & Adler Galleries, New York, NY 2014 Edge of the Seat, The Rye Arts Center Gallery, Rye, NY 2013 Duets: Art in Conversation, Hirschl & Adler Galleries, New York, NY 2012 Haunting Narratives: Detours from Philadelphia Realism, 1935-Present, Woodmere Art Museum, Philadelphia, PA Structuring Nature, Walton Arts Center, Fayetteville, AR Summer Selections, Hirschl & Adler Modern, New York, NY 2011 Masterworks: The Best of Hirschl & Adler, Hirschl & Adler Galleries, New York, NY 2010 Summer Selections, Hirschl & Adler Modern, New York, NY 2009 Holiday Selections, Hirschl & Adler Modern, New York, NY 2008-2009 American Green – Art and Stewardship, Somerville-Manning Gallery, Greenville, DE 2008 Holiday Selections, Hirschl & Adler Modern, New York, NY Summer Selections, Hirschl & Adler Modern, New York, NY 2007 Finding a Form: Influences in Figurative Painting, Tower Gallery, Philadelphia, PA Holiday Selections, Hirschl & Adler Modern, New York, NY Summer Selections, Hirschl & Adler Modern, New York, NY 2006-2008 Visions of the Susquehanna, Susquehanna Art Museum, PA; Governor’s Residence, Harrisburgh, PA; Washington County Museum of Fine Arts, Hagerstown, MD; Roberson Center for Art and Science, Binghamton, NY. 2006 Summer Selections, Hirschl & Adler Modern, New York, NY 2004 179th Annual: An Invitational Exhibition of Contemporary American Art, National Academy of Design, New York, NY Selected Works from the Ballinglen Collection, United States Embassy to Ireland, Ambassadors Residence, Phoenix Park, Dublin, Republic of Ireland. Part of the Art in the Embassies Program, Washington D.C. 2001 Personal Affinities, Contemporary Artists Influenced by the works of Edwin Dickinson, Pennsylvania Academy of the Fine Arts Museum, Philadelphia, PA 2000 December Show, Fenton Gallery, Cork City, Ireland Works from the Archives, Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland 1999 New Realism for a New Millennium, Memorial Art Gallery, University of Rochester, NY Indomitable Spirits, The Figure At The End Of The Century, The Art Institute of Southern California, Laguna Beach, CA 1998 Visual Poetry, A Selection of Work by Artists Inspired by the Words and Sentiments of Walt Whitman, Stedman Gallery, Rutgers University, Camden, NJ The Artist's Window, Lee Hansley Gallery, Raleigh, NC Embodied Fictions, Twelve Contemporary Figure Painters, The Boyden Gallery, St. Mary's College of Maryland, St. Mary’s City, MD 1997 Abstract and Image, Four Painters, Hopkin's Center, Dartmouth College, Hanover, NH An Extended View: Landscapes by Philadelphia Artists, Levy and Paley Galleries, Moore College of Art and Design, Philadelphia, PA 1996 Figure Drawings, Hillyer Hall, Smith College, Northampton, MA Figurative Paintings, Edith Caldwell Gallery, San Francisco, CA A Show of Hands (Exhibit and auction to assist AIDS research), Moore College of Art and Design, Philadelphia, PA 1994 Figures in the Landscape, More Gallery, Philadelphia, PA 1992 Landscapes by Randall Exon & Joseph Byrne, Dartmouth College, Hanover, NH 1991 A Show of Hands, Moore College of Art and Design, Philadelphia, PA 1991 Ten Contemporary Philadelphia Painters, Westmoreland Museum, Greensburg, PA 1991 Sport in Art, Woodmere Museum, Chestnut Hill, PA 1990 Myth and Monument, More Gallery, Philadelphia, PA 1990 Evidence of the Senses, 7 Painters, Woodmere Museum, Chestnut Hill, PA Pollack Award Winners, Mulvane Gallery, Washburn University, Topeka, KS 1989 Works on Paper, More Gallery, Philadelphia, PA Nocturnes, More Gallery, Philadelphia, PA 1986 Nature Morte, Southern Alleghenies Museum of Art, St. Francis College, Loretto, PA 1984 The Spirit of the Coast: Paintings, Monmouth Museum, NJ Drawings: Personal and Intimate, More Gallery, Philadelphia, PA Night Paintings, Florence Wilcox Gallery, Swarthmore, PA 1983 Realist Direction, Penn State University Museum, University Park, PA 1981 Graduate Student Traveling Exhibit, University of Iowa, Iowa City, IA 1980 Selected Painters, Mulvane Gallery, Washburn University, Topeka, KS 1979 Artists Choose Artists Exhibit, University of Missouri at Kansas City Art Gallery, MO JURIED SHOWS 1990 Philadelphia Art Now, Philadelphia Museum of Art, PA 1989 State of Pennsylvania Juried Exhibition, William Penn Museum, Harrisburg, PA 1987 State of Pennsylvania Juried Exhibition, William Penn Museum, Harrisburg, PA 1984 Butler Institute of American Art Annual Exhibit, Youngstown, OH National Academy of Design Biannual Competition, New York, NY 1981 32nd Iowa Artists Exhibition, Des Moines Art Center, Des Moines, IA 1980 Iowa Artists Solon, Burnnier Gallery, Iowa State University, Ames, IA 1979 Kansas Bankers Association Exhibition, Topeka, KS AWARDS/GRANTS/RESIDENCIES 2004 The Thomas Benedict Clarke Prize, 179th Annual Invitational Exhibition of Contemporary American Art, National Academy Museum and School of Fine Arts, New York, NY 2001 2nd Fellowship, Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland Eugene M. Lang Faculty Fellowship, Swarthmore College, PA 1997 Fellow, Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland 1992 Washburn Fellow, Washburn University, Topeka, KS 1989 Eugene M. Lang Faculty Fellowship, Swarthmore College, PA 1988 Andrew Carnegie Prize, 163rd Annual Exhibition of the National Academy of Design, New York, NY 1987 1985-86 1984 1981 1981 1980 1976, 78 TEACHING 1982-present 1994-00 1980-82 Best of Show prize, juried museum exhibition, The State Museum of Pennsylvania, Harrisburg, PA Henry Luce Scholar, Bali, Indonesia Julius Halgarten Prize for Best Painting by an Artist under 35 years of age Academy of Design Annual Exhibition, New York, NY Iowa Artists Salon, Second Prize Skowhegan Scholarship Award, University of Iowa, Iowa City, IA Student Award, 32nd Iowa Artists Exhibition, Des Moines Art Center, IA Charles Pollack purchase prize for the best painting from annual student exhibition, Washburn University, Topeka, KS Professor in Studio Arts, Swarthmore College, Swarthmore, PA Chair, Department of Art, Swarthmore College, Swarthmore, PA Teaching Assistant to Ben Frank Moss, University of Iowa, Iowa City, IA VISITING ARTIST/LECTURES 2002 2001 1998 1995 1994 1993 1994, 1992 1992 1989 1987 1986 1985 1982 Pennsylvania State University, Abington, PA Hollins College, Roanoke, VA Maryland Arts Institute, Baltimore, MD Beaver College, Glenside, PA Union College, Department of Art, Schenectady, NY Allentown Art Museum, PA Pennsylvania Academy of the Fine Arts, Philadelphia, PA Bucks County Community College, Newtown, PA Tasis England American School, Thorpe, Surrey, England Boston Art Institute, MA Boston University, M.F.A. program, MA Beaver College, Department of Art, Philadelphia, PA Dartmouth College, Department of Visual Studies, Hanover, NH Dartmouth College, Department of Visual Studies, Hanover, NH Carleton College, Northfield, MN University of Maine at Machias, ME Horsham College of Art, Horsham, England Stoneybrook School, Suffolk, Long Island, NY Moore College of Art, Basic Drawing, Philadelphia, PA Vassar College, Department of Art, Poughkeepsie, NY PUBLIC COLLECTIONS Allentown Art Museum, PA ARA Corporation, Philadelphia, PA Security Pacific National Bank, Sanger Branch, Los Angeles, CA University of Iowa, Permanent Collection, Iowa City, IA Mulvane Gallery Permanent Collection, Washburn University, Topeka, KS Woodmere Museum, Mt. Airy, Philadelphia, PA Henry Luce Foundation, New York, NY Henry Wendt Collection, Philadelphia, PA Susquehanna Art Museum, Harrisburg, PA SELECTED BIBLIOGRAPHY Sozanski, Edward J. “Simple Situations, in almost holy light,” Philadelphia Inquirer , February 7, 2003 Francis, Naila,“Studies in Light, Space,” The Intelligencer, January 9, 2003 Thompson, Jodi, “Fabulous Realism, seeing the light,” Out & About, January 9, 2003 Hopkin, Alannah, The Irish Examiner, July 1, 2002 Hopkin, Alannah, The Irish Examiner, January 2002 Sosanski, Edward, Philadelphia Inquirer, February 2001 Carr, Jeffrey, “Landscapes of the Imagination,” American Artist, January 1999 “On The Town,” New York Times Art Review, November 1998 Adelson, Fred B...

Karen Offutt approaches The Strength Within 30 x 26 oval , oil on panel with an atmospheric sensitivity combining shape, tone line, and color. Karen ...

Girls Outside a Florentine Bar by James Crandall Oil on canvas panel 12” x 16” Also shown is "Girl with Aperitivo" which is 16' x 12" and is available. This Florentine painti...