Harry Wallace Methven

Henry Wallace Methven "Impressionist Landscape" Water, Trees Summer Reflection

1902

SALE ONE WEEK ONLY “Study of Mt. Vesuvius" is a small intimate painting of an active volcano that has at times wrecked great destruction. As seen from a distance, it is a calm blue ...

SALE ONE WEEK ONLY “Roxbury” is a stunning landscape of architecture and city deleterious. Moon-Joo Lee received her MFA from Cranbrook Academy of Art, Department of Painting in 2003 and received the schools' Top Prize with this painting. “Roxbury” subsequently was on display at Chrysler’s World Headquarters for a period of time. While at Cranbrook she began to document the ubiquitous construction sites skirting Detroit and similar cities across the country. The transitory urban fabric became her compelling subject, emblematic of fluctuating socio-economic conditions and a widespread culture of uncertainty. - Joe Houston of Cranbrook Art Museum. Lee’s painting “Roxbury” captures the cycle of construction, destruction and reconstruction that perpetually transforms the American city scene. In this image, a business that boasts NEW in its signage is already in the process of being destroyed. This could be a scene of bombing or environmental damage, but per Moon-Joo Lee’s aesthetics, the mountainous terrain of assorted refuse is there to remind the viewer that perhaps new and better do not necessarily mean that nor do they guarantee positive change. Lee's contemporary landscape underscores the extent to which nature has been supplanted by a manufactured environment, portraying rampant cultural transformation as a modern expression of manifest destiny. Moon-Joo Lee is one of the many well-known artists who attended The Cranbrook Academy of Art in Bloomfield Hills, Michigan, that was designed by architect and faculty member, Eliel Saarinen who collaborated with Charles and Ray Eames on chair and furniture design. It is the country’s top ranked, graduate-only program in architecture, design and fine art. Each year, just 75 students are invited to study and live on the landmark Saarinen-designed campus which features: private studios, state-of-the art workshops, the renowned Cranbrook Art Museum and 300 acres of forests, lakes and streams, all a short drive from the city of Detroit. The focus at Cranbrook is on studio practice in one of ten disciplines including Architecture, 2D and 3D Design, Ceramics, Fiber, Metalsmithing, Painting, Photography, Print Media, and Sculpture. The program is anchored by celebrated Artists- and Designers-in-Residence, one for each discipline, all of whom live and practice on campus alongside the graduate students. Numerous creative artists who are alumni of Cranbrook include: Harry Bertoia, Florence Knoll, Jack Lenor Larsen, Donald Lipski, Duane Hanson, Nick Cave, Hani Rashid, George Nelson, Urban Jupena (Nationally recognized fiber artist), Artis Lane (the first African-American artist to have her sculpture, "Sojourner Truth," commissioned for the Emancipation Hall in the Capital Visitor Center in Washington DC), Cory Puhlman (televised Pastry Chef extraordinaire), Thom O’Connor (Lithographs), Paul Evans (Brutalist-inspired sculpted metal furnishings), Eugene Caples (small bronze images/abstract), Morris Brose (Bronze Sculptures), Herb Babcock (blown glass), Larry Butcher (mixed media), Lauren Anais Hussey (Abstract), Andrea Eis (film, photography), Lilian Swann Saarinen (Sculpture), Douglas Semivan...

SALE ONE WEEK ONLY “Springtown Reflections No. I” depicts the moment of change in the weather moving from harsh winter to the first warming days of spring melting the snow. The title suggests a moment to pause in farm life before the coming spring planting and also suggests a time of mental reflection on life and work. The puddles of melting snow reflect the buildings in the scene. The muted colors and slightly off kilter structures cause the buildings to appear worn but sturdy, a soft idyllic scene of rural life. Helmut Gransow...

SALE ONE WEEK ONLY Jennifer's "Untitled" piece appears to be a landscape with a colorful stripped form arising out of the grasses. It is an iconic image that she incorporates into her work. The following excerpt from her Artist Statement best describes her feeling about it: I stopped the slug imagery and started making purely abstract paintings. Eventually, abstract lines and forms evolved into “characters.” They lived in landscapes of a realistic sort. They were abstractions on a representational journey. It occurred to me that they were the slugs. I thought they had gone but they hadn’t. It occurred to me that they were the slugs. I thought they had gone but they hadn’t. They were the slugs transformed. Evolved slugs and broken out from their cocoons. They had become abstract “butterflies.” Jennifer Wynne Reeves was known for creating a body of paintings, drawings and photographs that speak to and confront formalist and humanist dilemmas. Beyond her achievements in the art world, Reeves enjoyed a considerable fan-base as a result of her astonishing Facebook presence where she chronicled and interwove her art and diaristic prose. Reeves solo exhibitions included Art & Public in Geneva, Gian Enzo Sperone in Rome; Max Protetch, Ramis Barquet and BravinLee programs, NYC. Reeves was also celebrated for her writing. She produced a graphic novel, The Anyway Ember and Soul Bolt, a book of images and prose. “Profoundly rewarding works” said LA Times writer, David Pagel, in a review her 2015 exhibition at CB1 Gallery. Reeves is a John Simon Guggenheim Fellow recipient. The following is an artist’s statement about her theory off work: “Twenty years ago, I called them slugs. In the beginning, they were like long lumps without arms or legs. Powerless. Difficult. Paralyzed. I thought maybe they were the symbols of sloth or depression or fear. They didn’t do anything. I wondered if I should stop making them? They were not beautiful. Nobody liked them. Nobody wanted to look at them. They were repellent and, worse, they were funny. I hated that. I wanted to be a “serious” artist. I was conflicted. I had to make the images that came to me but I was embarrassed. Maybe it wasn’t a fancy path but painting slugs was more honest than painting flowers (nothing against flower paintings, mind you). It came down to a moral choice. So, I determined to follow the slug road. Maybe it was a road that led somewhere? Or maybe not. After several years, I thought I hit a dead-end. I stopped the slug imagery and started making purely abstract paintings. Eventually, abstract lines and forms evolved into “characters.” They lived in landscapes of a realistic sort. They were abstractions on a representational journey. It occurred to me that they were the slugs. I thought they had gone but they hadn’t. It occurred to me that they were the slugs. I thought they had gone but they hadn’t. They were the slugs transformed. Evolved slugs and broken out from their cocoons. They had become abstract “butterflies.” Little kids liked them. I hated that. I wanted to be a “serious” artist. I’m not sure, exactly, who they are. They could be our conscience, our psychology, or simply the part inside us that yearns. They could be artists, modernists or the first of “us” that crawled out of the ocean. My best hunch is they are whatever it is that makes us want to make. I hope that’s a good thing and beautiful and seriously funny. Whatever the case, I’d like to know what it’s all about.” Jennifer Reeves...

Marine blue port de Mallorca original impressionist oil canvas painting. framed Original work by the Spanish artist Joan Sola. oil on canvas Signed by the artist SOLÀ PUIG, Joan (...

Mountain Lanscape of Gerona original impressionist oil canvas painting. framed Sola PUIG, Joan (Barcelona 1950 ) Joan SOLÁ paints in a natural way, which reflects the Old Masters, ...

"River Scene" Artist: Jean Metzinger Medium: Oil on Canvas Size: 23" x 28.75" Date 1902-3 Metzinger Catalogue Raisonne Number: AM-02-002.1, by the Regis...

French Impressionist oil on canvas view of trees on a riverbank in all their colourful autumn glory by Francoise Hinard. Initialled bottom right. Hin...