Gordon Rushmer

Frontlines, Senafe, Eritrea

1998

Immerse yourself in the serene magic of a moonlit winter night, where dreams and reality blend seamlessly. Bathed in the soft glow of a luminous full moon, the delicate pink hues of ...

“Rose Vine” - Oil, Acrylic, and Ink on Canvas, 36 x 72 inches “Rose Vine” radiates with a lush vibrancy, where soft magenta blooms and golden hues blend effortlessly with translucen...

“Azalea Light” - Oil, Acrylic, and Ink on Canvas, 36 x 72 inches “Azalea Light” radiates with a lush vibrancy, where soft magenta blooms and golden hues blend effortlessly with tran...

Sandor Bernath (1892-1984). Highland Lighthouse at Dusk, Truro MA. Watercolor on heavy wove paper, 17 x 17 inches; 18 x 18 inches framed. Excellent condition with no fading. Signed lower right. Silver leaf custom frame. Sandor Bernath was known for his stylized watercolors of sailing ships. He was a student of Edward Hopper. Born in Hungary on December 30, 1892, Bernath immigrated in his youth to the United States, and by the early 1920s had begun to establish himself within New York art circles. In January of 1922, he was given a one-man show at Mrs. Malcolm's Gallery on East 64th Street. Although little is known about Bernath's education and early training, this exhibition of nineteen watercolors included works, which suggest that by 1922, the artist had traveled and studied abroad. "Coast of Normandy" and "Shrine, Czechoslovakia" are two works the subjects of which certainly resulted from time spent in Europe. Other paintings exhibited in the 1922 show, such as "Brooklyn Bridge", "Weehawken Freight Yards" and "East River" reveal that on the whole, Bernath's earliest subjects remained those found in New York. After his show at Mrs. Malcolm's Gallery, Bernath became a member of the American Watercolor Society and later that year, showed six works at their annual exhibition. Unlike the works exhibited on East 63rd Street, the watercolors featured at the AWS show, such as "Grand Manan Coast" and "Fishing Boats", reflected a growing attraction to the subjects offered within the Maine landscape, an attraction which truly took hold in the summer of 1922. Like many of his peers, Bernath worked as a teacher and illustrator to support himself. In order to escape the tedium of these dreaded day-jobs, many retreated to the villages of Maine and Massachusetts where artists' communities such as those at Monhegan Island, Gloucester and Ogunquit had sprung from the modern artist's desire to study natural forms. By 1923, Bernath's fascination with these forms becomes apparent with the complete shift in focus of his subject matter from the sights and scenes of his urban surroundings to the land and seascapes of New...