Carrie Haddad Gallery Paintings

Abstracted still life painting of a red flower with blue outlined petals against a white background "Red & Cerulean Rose" painted by Joy Taylor in 2021 35....

Photo-realist still life painting of a pink peony against a country landscape with blue mountains and a blue, moon-lit sky just after sunset "Leaping Peony" by Ann Getsinger...

Impressionist style en plein air landscape painting on linen of a rural country barn with a bright yellow sunset and earth toned plowed farm fields #3991 Warren's Barn, painted by Ha...

Impressionist style en plein air landscape painting on linen of a barn on a country farm, featuring bright tones of greens against a light blue sky #4494 Overgrown Barn, painted by H...

Geometric and gestural abstract painting on canvas in earth tones of beige, tan, and light brown with accents of dark magenta, light sienna, and neon pink Disturbances in the Field, 2019 by Jeanette Fintz 60 x 72 x 2 inches, acrylic on canvas Signed verso Hanging wire on reverse "Disturbances in the Field" is a painting in a series of work created during the year of the pandemic. The artist explains that this painting is about "giving structure to something intangible, ephemeral, in-flux or conversely, revealing the dissolving of structure that has been.” As an abstract artist, Fintz has long been interested in the contrast of hard-edged planar geometry (circles, squares, hexagons) existing within an atmospheric field where shapes can float or hold the plane, in a space that appears expansive, transient and increasingly released from the canvas’s edge. A calculated use of opacity and transparency resulting from fluid washes of acrylic create an atmosphere where fragmented geometry becomes “a vocabulary of gestures”. This work merges white and faintly gold hard edge lines with gentle washes of blue and neutrals. Working in a space between planning and chance, Jeanette Fintz presents a series of paintings that fuse gestural and geometric abstraction. This body of work continues Fintz’s use of the circle, ellipse and hexagon; motifs that embody references to nature, architecture and the decorative arts. Jeanette Fintz is an established artist working in the Hudson Valley, NY. She has taught at the School of Design Strategies at Parsons the New School for Design, SUNY Purchase, and Pratt Institute, among other American universities. Her work is collected in both private and corporate collections worldwide. To read more about her career, please scroll down for see her detailed CV and biography. Artist Statement: My paintings evolve in a space between planning & chance, systems & spontaneity, conveying contradictions that I view as metaphors for maneuvering through “real “life. In this work I play a fairly high stakes game of improvisation around a motif. Using a working method akin to jazz, I counterpoint systematically repeated elliptical shapes against gestural pours & drips and something unexpected emerges. I am drawn to create complexity, and challenged to unify multiple layers through the physicality of the paint, which fuses & knits together, as well as, ultimately, through the power of color to stabilize & resolve. The ellipse, which is hypnotic & spatial in repetition, & monumental, but not static as a shape unto itself, embodies references to nature and to the decorative arts which are both alluded to in the paintings. (The egg, the mirror, the vulva, or the shield.) Dynamic visual rhythms, in these pieces, the momentum of the repetitive ellipse, are typical of my work and help to maintain order within complexity. Their sources for me are both musical, notably the poly-rhythms of Latin jazz, Brazilian & East Indian music, and are also derived from the decorative arts, particularly textiles. The latter have been a source of excitement, often contributing a playful aspect to the paintings. I intentionally disturb the regularity of pattern, encouraging discordance & uniqueness, and then bring it back home after finding another by - way to work things through. Color is my most intuitive source of inspiration, connecting me to nature; It is also, ironically, my most passionately calculated element. In the primal struggle among sometimes apparently random components, subtlely modulated color clarifies purpose, builds context, and holds the structure together. The intuitive rhythmic order of Jeanette’s paintings prior to 2009 which featured repetitive lines, circles and ellipses clashing with fluid gestural streams of color have given way fully in the new work to a given crystalline geometric substructure that unifies all visual events. This work embraces and employs the Oneness found in sacred geometry as the underpinning for improvised pathways that give each work its uniqueness. Shapes that are found have a “role” to play, to riff off some of Jeanette’s series titles. The earlier pieces acknowledge through the unexpected visual event, the imperfection of the human condition while the newer geometries strive for the expression of spiritual wholeness and connection. About the artist: Jeanette Fintz is an abstract painter, who resides and paints in Hudson, NY. She is also an arts writer and independent curator. The intermix of being a native New Yorker and now, happily, a resident of the lush Hudson River Valley is evident in her work, which combines an urban edginess with the lyrical influences of her natural surroundings. Ms. Fintz was born in Brooklyn NY, educated at Queens College, The New York Studio School and Boston University. Her personal amalgam of NY School formalist principles, and love of natural light and color was initially forged during her summer at the Skowhegan School of Painting & Sculpture where she painted from the Maine landscape. Ms. Fintz lived and worked in the artist communities of Tribeca and Williamsburg, exhibiting regularly in NYC. Jeanette in part, credits the importance of natural light for her decision to transplant home and studio to Surprise. Ms Fintz has filtered nature through her urban sensibility, stretching color motifs towards the heightened and intensified palette often found in the realms of design and fashion. Her pieces have a rhythmic impact stemming both from her enjoyment of jazz and poly-rhythms of Brazilian and Indian origin, which she also sees displayed in the visual rhythms found in textiles and Islamic tile patterns. Jeanette’s involvement with these resources was enhanced by sabbatical travel to Spain’s Andalusia Region (2005 & 2009) to investigate patterning systems found in Moorish tiles and architecture, and to Turkey (2013), where she focused on the Iznik, Byzantine and Greco-Roman tiles and frescoes. Jeanette also had immersed herself in textile patterns and Ikat designs during her yearlong sojourn in Malaysia, where she was founding faculty in a new Parsons School of Design affiliate in Kuala Lumpur (1996-97). Selected Grants and Awards include 2015 EYP Architecture & Engineering Award, Artists of the Mohawk Hudson Region 2015 Trustees Award, Albany Institute of History & Art 2013 Sabbatical, Parsons the New School For Design 2008 The Emil & Dines Carlsen Award / Painting, National Academy of Design 2005 Sabbatical, Parsons the New School for School Design 2005 Sudden Opportunity Stipend 2003 Faculty Development Award, Parsons, the New School for School for Design 1995-92 Sudden Opportunity Stipend, NYFA Rensselaer County Council for the Arts 1993 N Y F A, Artists Fellowship / Drawing 1990 E. D. Foundation Grant / Painting 1984 Ludwig Vogelstein Grant / Painting 1980 The Ingram Merrill Award / Painting 1975 Purchase Prize, Painting, Skowhegan School for Painting & Sculpture Ms Fintz has taught as an Assistant Professor of Art & Design, in the School of Design Strategies at Parsons the New School for Design for 17 years. At Purchase College, SUNY, Jeanette taught all levels of painting and drawing for 12 years as Assistant Professor in the BFA conservatory program. She also has taught at Pratt Institute, Brooklyn, NY, Hobart & William Smith Colleges, Geneva, NY, The University of Southern Maine, Portland, The University of the Arts, Philadelphia, PA, and SUNY, Albany. Jeanette shows her work at the Garvey Simon Gallery, New York, NY, Fox Gallery, New York, NY, Geoffrey Young Gallery, Great Barrington MA, the Thompson Giroux Gallery, Chatham NY, Cross Contemporary Gallery, Saugerties, NY. Recent projects include a solo show at Garvey Simon Gallery, NY NY (Sept. 7 - Oct, 2017), and a curatorial project, "The Ritual of Construction," at the Kleinert James Center, Woodstock Byrdcliff Guild (May 19 - July , 2017). Ms Fintz’s Residencies and Fellowships include: The MacDowell Colony, The Millay Colony for the Arts, The Ucross Foundation, and Altos De Chavon & Ossabaw Island Project. Jeanette’s selected Visiting Artist spots include Art New England, Bennington College, Bennington, VT, Ohio State University, Columbus, OH, Illinois State University, Normal, IL, Hobart & William Smith Colleges, Geneva NY. Ms. Fintz received her MFA from Boston Universtiy SFA (1975 ), and her BA from Queens College CUNY (1972). She attended the New York Studio School (1972-73), and received a scholarship to the Skowhegan School in 1975. Ms Fintz’s work can be found in many national & international collections. Collections Par Capital Management Boston MA VYV Apartments, Luxury High Rise, Jersey City, NJ Boca Raton Yacht Club, Waldorf Astoria Resort, Boca Raton, FL Liberty Mutual Insurance Company, Boston, MA, and Plano, TX Robert A.M. Stern Architectural Project, Washington DC Capital G Bank Hamilton, Bermuda Brigham & Women's Hospital, Foxboro, MA Wilmer Cutler Pickering Hale & Dorr, Boston, MA Posternak Blankstein & Lund, Boston, MA Hale & Dorr, Boston, MA Analysis Group, Boston, MA National Televison, 7 Kuala Lumpur, Malaysia Christmas Island Phosphate, Singapore Jewish Free Loan Association, Los Angeles CA Rabobank NYC Commerzbank, New York, NY Commerzbank 2, World Financial Center, New York, NY National Television 7, Kuala Lumpur, Malaysia Hobart & William Smith Colleges, Geneva, NY Skowhegan School, Skowhegan, Maine Collection of Minister of Agriculture Datuk Effendi & Datin Norwawi Collection of the Former Prime Minister Datuk Seri Dr Mahathir Mohamed of Malaysia Jim & Debbie Ellickson -Brown, Cultural Attache, American Embassy, Kuala Lumpur Malaysia (1996) Rohana Tan Sri Mahamad, Kuala Lumpur, MY Suherwan Abu, Kuala Lumpur, MY & Singapore Valentine Willie, Kuala Lumpur, MY Aloysious Goh, Singapore Betsey Swan & Chris Calder, Albuquerque NM Carrie Chen & Stanley Cohen Center Hill, Copake, NY Albert & Linda Eskenazi, Montreal, CA Barbel & Peter Starz, Toulouse, FR Clarissa & Jean Kueller, Rio de Janeiro, Brazil Mr. & Mrs. Andre Keller, K L, MY & Geneva, Switzerland Shirley Greitzer, Esq. Washington DC Mark Meltzer, Los Angeles & Palm Springs, CA Joel & Fran Soroka, Aspen, Colorado Estate of Hella and Carl Ossenberg, NYC & Palm Beach, FL Estate of Gabriel Laderman, New York, NY Stephen Westfall, New York, NY Dr & Mrs Joseph Delisi, Lake Hopatcong, NJ Dr & Mrs Chris Calder & Besty Swan, Menands, NY Carol & Joachim Frank, NY, NY Mark Pettygrove, Los Angeles, CA George A Schulman, Los Angeles, CA Gerald De Silva, Los Angeles, CA Caryl Horn, Port Richmond, CA Joe & Cathy Plumber, Cold Spring, NY Molly Doland, Esq. Washington DC Bethany Beardslee Winham, Rhinebeck, NY David Fox & Associates, Inc. Briarcliff Manor, NY Eric & Carolyn Egas, Greenviille, NY & Vieques, PR Jin Zeng, New York, NY Selected Solo Exhibitions 2017 “Worldline Schreiber Paintings, plus...," Garvey/Simon Gallery 547 W 27th St, New York, NY 2016 "The Presence of the Invisible Proposition," Koussevitsky Art Gallery, Berkshire Community College, Pittsfield, MA 2012 "Andalusian Shards," The Wall Street Journal Bldg Lobby, New York, NY 2012 "The Plaid Paintings...

Colorful abstract painting with geometric details in bright hues of blue, red, green, and yellow, against a black background "Instead", painted by Anne Francey in 2017 Mixed media on Masonite 10 x 10 x 2 inches, sides reveal raw wood Excellent condition, signed verso Ready to hang Anne Francey has been working with subject matter inspired by nature for most of her artistic career. Since the pandemic, this focus has become ever more apparent as her new acrylic paintings on paper demonstrate her intuitive process of reinterpreting literal subjects like leaves, flowers, birds, or bugs into vibrant worlds of layered color. She begins by drawing from life but then allows fluctuating colors, traces of the hand, and evidence of the physical medium to be introduced as the composition evolves and finds its final imprint on the surface. The spontaneity of her process welcomes the unknown, she explains: “The things that moved me first…might have become by now just a faint whispering. But I know that a story is being told, even if I don’t understand yet all the words.” About the artist: Anne Francey was born in 1956 in Grandson, Switzerland. She attended the Ecole des Beaux-Arts de Lausanne (ECBA) from 1976 to 1981, where she received a diploma of Fine Arts in painting. In 1981, she moved to New York where she attended the School of Visual Arts and the graduate program of Fine Arts at Hunter College. She graduated in 1987 with a Master of Fine Arts (MFA). EDUCATION 1983-1987 Hunter College: Master of Fine Arts, New York EXHIBITIONS (Most recent) 2021 Le Comptoir des Motifs, Artefactory, Geneva, Switzerland, fabric design, group show 2018 Eric Laffer Gallery, Upstate Invitational, 3 person show, Schuylerville, NY The Arts Center of the Capital Region, Configurations, one person show, Troy, NY Carrie Haddad gallery, Ebb and Flow, Hudson, NY Saratoga Arts, Then and Now, Saratoga Springs, NY 12866 2017 Byrdcliffe Kleinert/James Center, The Ritual of Construction, group show, Woodstock, NY Carrie Haddad gallery, Summer, group show Thompson Giroux gallery, En Masse, group show Eric Laffer gallery, Winter Show, Schuylerville, NY 2016 Saratoga Arts, 30th Anniversary Invitational, Saratoga Springs, NY Carrie Haddad Gallery, Summer Color, Hudson, NY Laffer Gallery, 5th Annual Juried Group Show, Schuylerville, NY 2015 Carrie Haddad Gallery, Paper, group show, Hudson, NY 2014 Luminarté, Contemporary Islamic Art, group show, Dallas, TX Spring Street Gallery, Where are you from? 3 persons show, Saratoga Spgs, NY Albany Institute of History and Art, Mohawk Hudson Regional, group show NY Albany International Airport, Natural Gestures, 3 persons show Albany, NY Laffer Gallery, Winter show, Schuylerville, NY COMMUNITY MURALS, GRANTS, RESIDENCIES, SYMPOSIUMS, 2021 Community Mural United Nations International school, NY “The Year that Zoomed by” 2020 Fulbright U.S. Scholar award 2020-2021 (travel postponed to 2021-2022) 2019 1001 Hands (“1001 Mains”) Concept, design and direction of a 150 sqft community ceramic mural with 600 participants, Ibn Rachiq Art Center,Tunis, Tunisia. Funded through the US Embassy and the Swiss Embassy in Tunis. Colors of the City, Wall Ceramic and Architecture in Tunis, International symposium, Tunis/Tunisia 1997- 2018 Artist in residence at various schools for the creation of community murals 2018 Bir-el Bey...

Horizontal figurative photo-realist painting of women swimming in an aqua blue pool "Weightless, Timeless," painted by Hudson Valley artist, Samantha French, is 2019 oil on canvas, 48 x 60 inches Sides are cleanly painted white so additional framing is optional Excellent condition and ready to hang as is This photorealist figurative painting captures a peaceful water scene of a women leisurely floating in a crisp, aqua blue pool. The sunlight reflecting off their sun kissed skin complements the cool color palette, making for a serene visual experience. The brush work is highly detailed with little texture (impasto) on the surface. The horizontal painting on canvas is currently unframed and has clean, white painted sides, so additional framing is optional. About the Artist: Born and raised in north central Minnesota, Samantha French graduated from the Minneapolis College of Art and Design in 2005. French’s current body of work explores the idea of escape, the tranquility and nostalgia for the lazy summer days of her childhood. The series is inspired by Samantha’s own reflections and memories of her childhood summers spent in the lakes of Northern Minnesota. French actively exhibits her paintings and is included in many private and public collections throughout the country while her work has garnered extensive international and national press. She is a full-time painter and keeps a studio in New York’s Hudson Valley. "My current body of work is focused on swimmers underwater and above. Using vague yet consuming memories from my childhood summers spent immersed in the tepid lakes of northern Minnesota, I attempt to recreate the quiet tranquility of water and nature; of days spent sinking and floating, still and peaceful. These paintings are a link to my home and continual search for the feeling of the sun on my face and warm summer days at the lake. They are my escape, a subtle reprieve from the day-to-day. At the same time, I am drawn to an idealistic time before my own, where swim caps and wool swimsuits were commonplace. This combination of memory, observation and photography has allowed me to preserve the transitory qualities of water and remembrance." Artist Resume: 2019 Winter Swim, Rubine Red...

Balance & Beam, Locus in Transit #2, 2021 by Jeanette Fintz 60 x 72 inches, acrylic on canvas Signed verso Hanging wire on reverse Balance and Beam - Locus in Transit #2 is a paint...

Blue Mother Drawing #3, by Jeanette Fintz in 2020 22 x 30 inches watercolor, gouache on Fabriano paper Signed lower right corner Framed: 32 x 39.5 inches, custom white frame, 8 ply w...

Blue Mother Drawing #2, by Jeanette Fintz in 2020 22 x 30 inches watercolor, gouache on Fabriano paper Signed lower right corner Framed: 32 x 39.5 inches, custom white frame, 8 ply w...

Vertical, abstract expressionist oil painting on canvas in stone blue, dusty peach, green and black, against an off-white grey background 'What Do I know of This Place (5)' painted by Hudson Valley artist, Jenny Nelson, in 2021 Oil on canvas 20 x 16 x 2 inches, with white painted sides Excellent condition, ready to hang Signed, verso This vertical abstract expressionist oil painting was painted by Woodstock, NY based artist, Jenny Nelson, in 2021. The colorful abstract composition is completed in an expressionist style with loose and gestural brushstrokes in calming tones of stone blue, midnight blue, dusty peach, and green. The contrasting patches of dark yellow and forest green pop against the subtle pale beige-grey background. Color is applied in light layers which is noticeable in the faint yet visible under tones of the painting. The oil painting is unframed, with white painted sides so framing is optional. The artist's signature is located on the back of the painting. Artist Statement: My work has always been anchored in drawing. I spent years drawing and painting from life. This instilled a strong sense of space and structure. At some point I became more interested in the negative space surrounding the objects I was observing and modifying the objects themselves. I began to organically develop an abstract language, but the sense of structure and organization remained constant in the painting. I apply paint in layers using palette knives, brushes and oil sticks. I initially draw loose gestures and a variety of spontaneous marks. Often traces of previous layers remain visible, allowing colors to interact in ways I could not have anticipated. This process leaves me feeling quite lost a lot of the time, and I have had to learn to become comfortable with that feeling. This sometimes builds to frustration, and I will scrape off much of what was applied, but the result of doing this is often something wonderful that moves the painting forward. I view the painting process as a collaboration between myself and the materials. A conversation starts that has a beginning and an end, but everything in between is unpredictable. It seems at first some exciting things may show up but it’s important to disregard these first, too beautiful bursts, work over them, and develop something deeper from them. As the painting evolves, shapes and lines solidify, and I begin to see how the parts affect the whole. This way of layering, adding and subtracting, creates a history on the canvas. Shapes have a story to tell. Lines that have been obliterated and resurrected over and over again have an emotional charge. This process that started as a wild party ends up as a contemplative carefully edited composition, involving precise modifications, while hopefully leaving the life force in tact. About the artist: Jenny Nelson attended Maine College of Art in Portland Maine, and is a graduate of Bard College, where she received a scholarship to the Lacoste School of the Arts in France. She has been living in Woodstock, New York for nearly two decades, including a Residency at the Byrdcliffe Art Colony from November 2004-08. Jenny has been exhibiting for many years nationally and regionally. SELECTED EXHIBITIONS: Solo Shows: 2019 Carrie Haddad Gallery, Hudson, NY 2019 Hidell Brooks Gallery, Charlotte NC 2018 Light Waves, Hidell Brooks Gallery, Charlotte NC 2017 New Works, Carrie Haddad Gallery, Hudson NY 2016 Sailing in Place, Hidell Brooks Gallery, Charlotte NC 2013 Traveling Light, Tria Gallery, Manhattan NY 2012 New Work, Smink Modern, Dallas TX 2012 New Work, Carrie Haddad Gallery, Hudson NY 2011 Awakenings (Duo with Keun Young Park) Tria Gallery, Manhattan NY 2010 New Paintings, Chace-Randall Gallery, Andes NY 2008 Autumn Elegance, Asher Neiman Gallery, Red Bank NJ 2008 The Light Between, Chace-Randall Gallery, Andes NY 2007 New Work, Carrie Haddad Gallery, Hudson NY 2006 Of Line and Light, Chace-Randall Gallery, Andes NY 2006 Abstractions, Gallery 100, Saratoga NY 2005 Spring Collection, Coffey Gallery, Kingston NY 2005 New Work, Carrie Haddad Gallery, Hudson NY 2004 Summer, Omega Institute, Rhinebeck NY 2004 New Work, Carrie Haddad Gallery, Hudson NY 2003 Paintings from Shady, Coffey Gallery, Kingston NY 2001 Fisher Studio Art Gallery, Annandale-on-Hudson Group Exhibitions: 2018 20th Anniversary Show, Hidell Brooks Gallery, Charlotte, NC 2017 Due East: Woodstock Artists in Nantucket, Nantucket Arts Center, Nantucket, MA 2017 Composition: The Abstract Landscape, Kleinert/James Gallery, Woodstock NY 2014 Women in Abstract, Hidell Brooks Gallery, Charlotte NC 2013 Hidell Brooks Anniversary Show, Hidell Brooks Gallery, Charlotte, NC 2013 AD Boston Art Fair, Gold Gallery, Boston 2012 Contemporary Painters, Carrie Haddad Gallery Hudson, NY 2012 Featured Artist, Dragonfly Gallery, Martha's Vineyard, MA 2012 Tria Gallery Summer Exhibition, Manhattan, NY 2012 AAF NYC, Tria Gallery, Manhattan, NY 2011 Featured Artist, Dragonfly Gallery, Martha's Vineyard, MA 2011 AAF NYC, Tria Gallery, Manhattan, NY 2011 Figures and Abstractions, Carrie Haddad Gallery, Hudson NY 2010 Art Hamptons, Tria Gallery, Manhattan NY 2010 Featured Artist, Dragonfly Gallery, Martha's Vineyard MA 2009 LA Art Fair, Bryant Street Gallery, Palo Alto CA 2009 Curators Choice, Chace-Randall Gallery, Andes NY 2009 Instructors Exhibition, Woodstock School of Art, Woodstock NY 2009 Group Exhibition, Bryant Street Gallery, Palo Alto CA 2009 Small Works, Anne Irwin Fine Art, Atlanta GA 2009 Winter White, Tria Gallery, Manhattan NY 2009 Contrasts, Anne Irwin Fine Art, Atlanta GA 2009 AAF NYC Tria Gallery, Manhattan NY 2008 Summer Cocktail, Tria Gallery, Manhattan NY 2008 5"x7" Show, Kleinart-James Gallery, Woodstock NY 2007 Faculty Plus One, Columbia Greene Community College, Hudson NY 2007 Art Basel Miami, Carrie Haddad Gallery, Hudson NY 2007 One New Work, Chace-Randall Gallery, Andes NY 2007 5"x7" Show, Kleinart-James Gallery, Woodstock, NY 2006 Beach, Gallery Yellow, Cross River NY 2006 Flow, Kleinart/James Gallery, Woodstock, NY 2006 Group Exhibition, James Cox Gallery, Woodstock NY 2006 Collectors Choice, Kleinert/James Gallery, Woodstock NY 2005 Group Exhibition, Chace Randall Gallery, Andes NY 2005 Passionate About Art, Kleinert/James Gallery, Woodstock NY 2005 New Talent, Alpha Gallery, Boston MA 2004 Six Women Painters, Albert Shahinian Fine Art, Poughkeepsie NY 2004 New York Underground Art Fair, Pool Art Addict, Four Points Hotel NY 2003 Senate House Show, Kingston NY 2002 Group Exhibition, Carrie Haddad Gallery, Hudson NY Juried Exhibitions: 2004 Woodstock Artists Association, Woodstock NY 2002 Hudson Valley Artists 2002, Samuel Dorsky Museum, New Paltz NY Selected Collections: Warren Bierwirth, Paris, France Cecilia Greene, New York NY Helen Chapman, New York NY Michael & Sheila Faharty, New York NY Christopher Dlutowski, New York NY Jim & Dianne Footlicke, New York NY Laurent Gaudry, New York NY Nancy Seigal, Boca Raton FL Holli Gersh, Boca Raton FL Kenneth & Margaret Uhle, Ridgefield CT Dr. Lee Sider, Mt. Tremper NY Friedrike Merck, Woodstock NY Weston & Julia Blelock, Woodstock NY Miller Howard Investments, Woodstock NY Kingston Hospital, Kingston NY Media: Jenny Nelson, Accidental Storyteller, Carrie Haddad Gallery, 2017 Jenny Nelson's chaos, Hudson Valley One, 2017 A Conversation with Artist Jenny Nelson,, Blog Talk Radio...

Vertical, abstract expressionist oil painting on canvas in blue, stone blue, green and midnight blue, with pops of green, peach, and yellow on an off-white background 'What Do I know of This Place (1)' painted by Hudson Valley artist, Jenny Nelson, in 2021 Oil on canvas 20 x 16 x 2 inches, with white painted sides Excellent condition, ready to hang Signed, verso This vertical abstract expressionist oil painting was painted by Woodstock, NY based artist, Jenny Nelson, in 2021. The colorful abstract composition is completed in an expressionist style with loose and gestural brushstrokes in calming tones of stone blue, teal, and midnight blue. The contrasting patches of dusty yellow, peach, and green beautifully pop against the subtle pale beige-grey background. Color is applied in light layers which is noticeable in the faint yet visible under tones of the painting. The oil painting is unframed, with white painted sides so framing is optional. The artist's signature is located on the back of the painting. Artist Statement: My work has always been anchored in drawing. I spent years drawing and painting from life. This instilled a strong sense of space and structure. At some point I became more interested in the negative space surrounding the objects I was observing and modifying the objects themselves. I began to organically develop an abstract language, but the sense of structure and organization remained constant in the painting. I apply paint in layers using palette knives, brushes and oil sticks. I initially draw loose gestures and a variety of spontaneous marks. Often traces of previous layers remain visible, allowing colors to interact in ways I could not have anticipated. This process leaves me feeling quite lost a lot of the time, and I have had to learn to become comfortable with that feeling. This sometimes builds to frustration, and I will scrape off much of what was applied, but the result of doing this is often something wonderful that moves the painting forward. I view the painting process as a collaboration between myself and the materials. A conversation starts that has a beginning and an end, but everything in between is unpredictable. It seems at first some exciting things may show up but it’s important to disregard these first, too beautiful bursts, work over them, and develop something deeper from them. As the painting evolves, shapes and lines solidify, and I begin to see how the parts affect the whole. This way of layering, adding and subtracting, creates a history on the canvas. Shapes have a story to tell. Lines that have been obliterated and resurrected over and over again have an emotional charge. This process that started as a wild party ends up as a contemplative carefully edited composition, involving precise modifications, while hopefully leaving the life force in tact. About the artist: Jenny Nelson attended Maine College of Art in Portland Maine, and is a graduate of Bard College, where she received a scholarship to the Lacoste School of the Arts in France. She has been living in Woodstock, New York for nearly two decades, including a Residency at the Byrdcliffe Art Colony from November 2004-08. Jenny has been exhibiting for many years nationally and regionally. SELECTED EXHIBITIONS: Solo Shows: 2019 Carrie Haddad Gallery, Hudson, NY 2019 Hidell Brooks Gallery, Charlotte NC 2018 Light Waves, Hidell Brooks Gallery, Charlotte NC 2017 New Works, Carrie Haddad Gallery, Hudson NY 2016 Sailing in Place, Hidell Brooks Gallery, Charlotte NC 2013 Traveling Light, Tria Gallery, Manhattan NY 2012 New Work, Smink Modern, Dallas TX 2012 New Work, Carrie Haddad Gallery, Hudson NY 2011 Awakenings (Duo with Keun Young Park) Tria Gallery, Manhattan NY 2010 New Paintings, Chace-Randall Gallery, Andes NY 2008 Autumn Elegance, Asher Neiman Gallery, Red Bank NJ 2008 The Light Between, Chace-Randall Gallery, Andes NY 2007 New Work, Carrie Haddad Gallery, Hudson NY 2006 Of Line and Light, Chace-Randall Gallery, Andes NY 2006 Abstractions, Gallery 100, Saratoga NY 2005 Spring Collection, Coffey Gallery, Kingston NY 2005 New Work, Carrie Haddad Gallery, Hudson NY 2004 Summer, Omega Institute, Rhinebeck NY 2004 New Work, Carrie Haddad Gallery, Hudson NY 2003 Paintings from Shady, Coffey Gallery, Kingston NY 2001 Fisher Studio Art Gallery, Annandale-on-Hudson Group Exhibitions: 2018 20th Anniversary Show, Hidell Brooks Gallery, Charlotte, NC 2017 Due East: Woodstock Artists in Nantucket, Nantucket Arts Center, Nantucket, MA 2017 Composition: The Abstract Landscape, Kleinert/James Gallery, Woodstock NY 2014 Women in Abstract, Hidell Brooks Gallery, Charlotte NC 2013 Hidell Brooks Anniversary Show, Hidell Brooks Gallery, Charlotte, NC 2013 AD Boston Art Fair, Gold Gallery, Boston 2012 Contemporary Painters, Carrie Haddad Gallery Hudson, NY 2012 Featured Artist, Dragonfly Gallery, Martha's Vineyard, MA 2012 Tria Gallery Summer Exhibition, Manhattan, NY 2012 AAF NYC, Tria Gallery, Manhattan, NY 2011 Featured Artist, Dragonfly Gallery, Martha's Vineyard, MA 2011 AAF NYC, Tria Gallery, Manhattan, NY 2011 Figures and Abstractions, Carrie Haddad Gallery, Hudson NY 2010 Art Hamptons, Tria Gallery, Manhattan NY 2010 Featured Artist, Dragonfly Gallery, Martha's Vineyard MA 2009 LA Art Fair, Bryant Street Gallery, Palo Alto CA 2009 Curators Choice, Chace-Randall Gallery, Andes NY 2009 Instructors Exhibition, Woodstock School of Art, Woodstock NY 2009 Group Exhibition, Bryant Street Gallery, Palo Alto CA 2009 Small Works, Anne Irwin Fine Art, Atlanta GA 2009 Winter White, Tria Gallery, Manhattan NY 2009 Contrasts, Anne Irwin Fine Art, Atlanta GA 2009 AAF NYC Tria Gallery, Manhattan NY 2008 Summer Cocktail, Tria Gallery, Manhattan NY 2008 5"x7" Show, Kleinart-James Gallery, Woodstock NY 2007 Faculty Plus One, Columbia Greene Community College, Hudson NY 2007 Art Basel Miami, Carrie Haddad Gallery, Hudson NY 2007 One New Work, Chace-Randall Gallery, Andes NY 2007 5"x7" Show, Kleinart-James Gallery, Woodstock, NY 2006 Beach, Gallery Yellow, Cross River NY 2006 Flow, Kleinart/James Gallery, Woodstock, NY 2006 Group Exhibition, James Cox Gallery, Woodstock NY 2006 Collectors Choice, Kleinert/James Gallery, Woodstock NY 2005 Group Exhibition, Chace Randall Gallery, Andes NY 2005 Passionate About Art, Kleinert/James Gallery, Woodstock NY 2005 New Talent, Alpha Gallery, Boston MA 2004 Six Women Painters, Albert Shahinian Fine Art, Poughkeepsie NY 2004 New York Underground Art Fair, Pool Art Addict, Four Points Hotel NY 2003 Senate House Show, Kingston NY 2002 Group Exhibition, Carrie Haddad Gallery, Hudson NY Juried Exhibitions: 2004 Woodstock Artists Association, Woodstock NY 2002 Hudson Valley Artists 2002, Samuel Dorsky Museum, New Paltz NY Selected Collections: Warren Bierwirth, Paris, France Cecilia Greene, New York NY Helen Chapman, New York NY Michael & Sheila Faharty, New York NY Christopher Dlutowski, New York NY Jim & Dianne Footlicke, New York NY Laurent Gaudry, New York NY Nancy Seigal, Boca Raton FL Holli Gersh, Boca Raton FL Kenneth & Margaret Uhle, Ridgefield CT Dr. Lee Sider, Mt. Tremper NY Friedrike Merck, Woodstock NY Weston & Julia Blelock, Woodstock NY Miller Howard Investments, Woodstock NY Kingston Hospital, Kingston NY Media: Jenny Nelson, Accidental Storyteller, Carrie Haddad Gallery, 2017 Jenny Nelson's chaos, Hudson Valley One, 2017 A Conversation with Artist Jenny Nelson,, Blog Talk Radio...

Figurative abstract style black, white, and blue acrylic painting of the Greek Goddess, Nike, "Winged Victory of Samothrace" with an antique wood f...

Abstract landscape painting of a gestural blue cloud over an olive green field "Hayfields" painted by David Konigsberg in 2015 oil on wood panel, 23 x 24 x 2 inches Ready to hang, s...

"Sargasso" hand-carved wooden New Brutalism wall sculpture by Hudson Valley artist, Stephen Walling, made in 2013 36 x 40 x 2.5 inches Carved wood and ac...

"Hip, Hip, Hooray!", hand-carved wooden wall sculpture by Hudson Valley artist, Stephen Walling, made in 2019 24 x 24 x 2.5 inches Carved wood and acrylic paint on panel Signed, ver...

Cityscape painting on muslin of iconic New York City water towers against an abstract maroon, silver, and blue rooftop skyline "41st & 10th" by Hudson, NY based artist, Ricardo Muler...

Abstract cityscape painting of Hudson, NY rooftops with accents of pink, magenta, green, yellow and teal "Rooftops Power Lines and Five & Diamond," by Hudson, NY based artist, Ricardo Mulero 12 x 6 inch oil on wood panel, Painted in 2021 Excellent condition, ready to hang as is Signed, lower left Ricardo Mulero is fascinated with capturing the brilliance of light and the contrast of natural beauty with utilitarian landscapes. Here, he abstracted the city skyline of Hudson, NY. Buildings and rooftops in shades of magenta, teal, and green are segmented in the foreground and cropped with black power lines. A soft yellow sky is layered with thin strokes of gesturally applied pale blue paint, furthering abstracting the city landscape. The piece is in excellent condition and ready to hang as is. The sides are painted a very dark, warm magenta so framing is not necessary. About the Artist: Growing up in Puerto Rico, I observed how people and nature could co-exist in harmony. Today, that principle guides my design and artistic work. My paintings are expressions that draw upon my life experiences, traditions, and surroundings. These unique environments inspire my oil paintings: Puerto Rico, where I grew up, New York City, Fire Island Pines...

Nature-Inspired Minimalist Abstract Color Field painting on two wood panels in shades of light, icy blue, white and grey Acrylic on two wood panel, Each panel is 18 x 24 x 1.5 inche...

Horizontal, monochromatic impressionist style blood orange and red abstract landscape oil painting on canvas "Fallow Field" painted by Richard Britell in 2020 oil on canvas 20 x 48 x...

Abstracted cityscape painting on paper in blue, black, grey and white oil wash of an industrial New York City rooftop "Untitled I," painted by Ricardo Mulero in 2018 7.5 x 5 inches, oil wash on paper 16.5 x 13.5 inches in a soft white wood frame with an 8-ply window mat and non-glare glass Excellent condition, ready to hang as is Ricardo Mulero is fascinated with capturing the brilliance of light and the contrast of natural beauty with utilitarian landscapes. Here, Mulero focuses on an abstracted New York City rooftop where water towers stand in the distance. Contrasts in light and shadow accentuate the urban landscape's geometric forms and highlight bold color palettes of blue, black, and grey. The piece is in excellent condition and ready to hang. About the Artist: Growing up in Puerto Rico, I observed how people and nature could co-exist in harmony. Today, that principle guides my design and artistic work. My paintings are expressions that draw upon my life experiences, traditions, and surroundings. These unique environments inspire my oil paintings: Puerto Rico, where I grew up, New York City, Fire Island Pines...

Abstracted cityscape painting on paper in blue and red oil wash of industrial beams and water towers in New York City "Untitled II," painted by Ricardo Mulero in 2018 7.5 x 5 inches, oil wash on paper 16.5 x 13.5 inches in a soft white wood frame with an 8-ply window mat and non-glare glass Excellent condition, ready to hang as is Ricardo Mulero is fascinated with capturing the brilliance of light and the contrast of natural beauty with utilitarian landscapes. Here, Mulero focuses on an abstracted New York cityscape of rooftop water towers and he fragments the industrial urban landscape to highlight bold shapes with contrasting color palettes in blue, black, and red. The piece is in excellent condition and ready to hang. About the Artist: Growing up in Puerto Rico, I observed how people and nature could co-exist in harmony. Today, that principle guides my design and artistic work. My paintings are expressions that draw upon my life experiences, traditions, and surroundings. These unique environments inspire my oil paintings: Puerto Rico, where I grew up, New York City, Fire Island Pines...

Impressionist style en plein air landscape painting on linen of a rural country farm with green fields and bright blue sky "Braymer Hill," an upstate New York landscape, painted plei...

Large, photo-realist painting on canvas featuring a crimson red and yellow industrial boatyard lift against a bright sky blue background 47 x 31 x 2 inches oil on canvas, thin wood stripping signed verso, "Joseph E. Richards" Hangs with wire installed on the back This precisely detailed photo-realist painting was made by Joseph E. Richards in 2001. The artist painted this piece when he was 71 years old during a long career of painting trains, cargo ships, and industrial machinery. Richards served in the US Navy during WWII and went on to study at the American Academy of Art in Chicago and the Pennsylvania Academy of Fine Arts in Philadelphia before showing with Ivan Karp of O.K. Harris Gallery in NYC. The artist moved upstate to Hillsdale, NY for the later years of his life. This painting captures one of Richards' most beloved subjects, industrial cranes. With a photo-realist approach to the subject, Richards was able to capture detailed changes in light and shadow, shape and form. The red and yellow crane, painted with extreme detail and focus, vividly contrasts against a bright blue sky. Areas of brown rust, attesting to the machine's power and longevity, are captured with immaculate precision. Since the painting has a very smooth surface, one could easily mistake this painting with a photograph. It is not until you examine the painting up close, do you realize the artist's calculated brushwork. The painting is framed with natural wood stripping. The work is lightweight and easy to hang with pre-installed wire. The artist's signature is located on the back of the canvas. About the artist: Joseph Richards’ precisely painted canvases of giant cranes, cargo booms, propellers and train engines are fueled with a fascination like that of a six-year old boy. Working directly from photographs, Richards unites light and color together as one element, evident in the reflective surfaces of steel. The otherwise mundane signs of corrosive wear are magnified; rust stains glow on the canvas and yellow painted pulleys radiate like beacons against a bright, blue sky. Richards finds beauty in their dramatic color, resilient texture, definitive form and functionality. Richards paints sections of these objects in grand scale, with canvases up to 6 feet long and eye-popping color, calling attention to their massive proportions and exceptional strength. Richards had solo exhibits in New York City, Scottsdale AZ, and Washington DC, and his work is found in private and corporate collections here and abroad, e.g., the Tucson Museum of Fine Arts, Mobil Oil, Lankenau Hospital in Philadelphia, and E. Jean Belloni in Geneva, Switzerland. Resume: Born in 1921 in Des Moines, Iowa, Joseph Richards left for Chicago after high school to pursue a career in art. After serving in the U.S. Navy from 1942 – 1945, he went on to study at the American Academy of Art in Chicago and the Pennsylvania Academy of Fine Arts in Philadelphia. He eventually settled with his wife, Betty, in New York City. In 1969, longtime dealer Ivan Karp opened The OK Harris Gallery on West Broadway in Manhattan’s SoHo. Karp was at the forefront of the Photorealism movement, showing artists such as Duane Hanson and Manny Farber...

Academic style figurative painting on canvas of a family and red tractor against a classic American farm field "Prosperous Family", painted by Mark Beard under his fictitious persona, Bruce Sargeant 84 x 58 inches unframed, 91 x 65 x 3 inches with a gold painted wood frame Excellent condition, ready to hang as is This Academic style figurative oil painting on canvas was painted by Mark Beard as Bruce Sargeant, a pseudonym in homage to the fashion photographer, Bruce Weber, and figurative painter, John Singer Sargeant. Here, the artist captures a blue collar American farming family in their field with an old red tractor. The man and woman stand stoically with their young child, dressed in simple white garments, perhaps to symbolize their purity. Rolling mountains...

Impressionist style en plein air landscape painting of rural country hay field at sunset with robin egg's blue sky and yellow clouds #5790 At the Slurry Pit, painted by Harry Orlyk i...

Big Little 119 (Striped Abstract Geometric Painting in Tones of Blue & Red) by Vincent Pomilio Colorful abstract painting on panel made with mixed media in tones of Yellow Pink & bu...

Large, photo-realist painting on canvas featuring a fire engine red and white industrial crane against a bright sky blue background 69 x 48 x 2 inches oil on canvas, thin wood stripping signed verso, "Joseph E. Richards" Hangs with wire installed on the back Excellent condition, ready to hang as is This precisely detailed photo-realist painting was made by Joseph E. Richards in 1992. The artist painted this piece when he was 71 years old during a long career of painting trains, cargo ships, and industrial machinery. Richards served in the US Navy during WWII and went on to study at the American Academy of Art in Chicago and the Pennsylvania Academy of Fine Arts in Philadelphia before showing with Ivan Karp of O.K. Harris Gallery in NYC. The artist moved upstate to Hillsdale, NY for the later years of his life. This painting captures one of Richards' most beloved subjects, industrial cranes. With a photo-realist approach to the subject, Richards was able to capture detailed changes in light and shadow, shape and form. The red and white crane, painted with extreme detail and focus, vividly contrasts against a bright blue sky. Areas of brown rust, attesting to the machine's power and longevity, are captured with immaculate precision. Since the painting has a very smooth surface, one could easily confuse this painting with a photograph. It is not until you examine the painting up close, do you realize the artist's calculated brushwork. The painting is framed with natural wood stripping. The work is lightweight and easy to hang with pre-installed wire. The artist's signature is located on the back of the canvas. About the artist: Joseph Richards...

This listing has been created for Young on 10.15.2020 and includes two paintings by Jeanette Fintz: "River of Gold", acrylic on canvas, 60 x 72 inches, wire on reverse for easy inst...

Donise English Busy Blue, 2020 14" X 17" gouache and collage on paper This abstract geometric composition on paper features a playful geometric motif that is inspired by the artist's interest in architecture and blueprint drawings. The geometric forms are made in a more painterly, gestural manner rather than with a hard edge. Paint is not heavily built up upon the surface but it certainly exhibits a tactile quality which is characteristic of the artist's aesthetic. English's work celebrates the quirky, unexpected qualities of shapes and colors. About the artist: Donise English is a Poughkeepsie-based artist who received her MFA from Bard College and is currently a Professor of Studio Art at Marist College in Poughkeepsie, NY. Artist Statement: I am interested in drawing and collaging multiple layers of information that refer abstractly to maps, architectural drawings and blueprints or patterns and structures found in such things as roller coasters, power lines and fences. I use gouache and collaged paper in a series of layers that are a visual and ideological response to the previous layer to define my pictorial space. For each piece I create a set of rules to follow about the use of a limited palette, a grid format, opacity of paper and whether a piece may include curving lines or maintain a rectilinear structure. Resume: EDUCATION Master of Fine Arts in Painting Bard College 1986 Bachelor of Science in Art History State University College at New Paltz 1977 Additional Study: New York Studio School (Drawing Marathons) Columbia University, School of Architecture Women’s Studio Workshop TEACHING Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie,NY Coordinator, Interior Design Program, Florence, Italy campus 1992-present AWARDS Finalist, “Saatchi Showdown” 2010 Invitational Award for Outstanding Contemporary Talent, University of Bridgeport, CT 2000 Purchase Prize, “11th National Juried Exhibition” College of Notre Dame of Maryland, Baltimore 1999 First Prize, “Women in the Visual Arts ‘95” Erector Square Gallery, New Haven, CT 1995 Joseph A. Cain Memorial Purchase Award for Sculpture Del Mar College, Corpus Christi, TX 1994 Honorable Mention, “National Juried Exhibition” University of Bridgeport, CT 1993 Individual Artists Fellowship in Sculpture Dutchess Arts Fund 1992/93 Tallix, Morris, Singer Internship in Sculpture Tallix Foundry, Beacon, NY 1990/91 SELECTED JURIED/INVITATIONAL EXHIBITIONS 2016 “Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD 2015 “Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY “Gridspace”, KMOCA, Kingston, NY “Abstraction”, Carrie Haddad Gallery, Hudson, NY “Assuming Identity”, NY Institute of Technology, New York, NY 2013 “Modern Artists”, Carrie Haddad Gallery, Hudson, NY “Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY Stone Canoe/Community Folk Art Center, Syracuse, NY 2012 New York Institute of Technology, New York, NY “Contemporary Painters (Who Just Happen To Be Women)”, Carrie Haddad Gallery, Hudson, NY “Strange Glue: Collage at 100”, Cambridge School, Weston, MA “Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY “Fresher Paint”, Rockland Center for the Arts, Nyack, NY Courthouse Gallery, Lake George Arts Project, Lake George, NY 2011 “Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”, Orange County Community College, Newburgh, NY “Gender Matters/Matters of Gender”, Freedman Gallery, Albright College, Reading, PA 2010 Carrie Haddad Gallery, Hudson, NY “Encaustics: Wax and Image”, Westchester Community College White Plains, NY “Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY “Spring Awakening”, NY Institute of Technology, New York, NY “Clay City Dreams”, NY Institute of Technology, New York, NY “Texture, Pattern, Fragment”, Krause Gallery, Moses Brown School Providence, RI 2009 “Collage”, NY Institute of Technology, New York, NY “Working in Wax”, Bedford Gallery, Walnut Creek, CA “Encaustic 2009”, College of New Rochelle, NY “Three Artists”, Carrie Haddad Gallery, Hudson, NY “Convergence: The Human Experience”, Howard County Center for the Arts, MD 2008 “Suckers and Biters: Love, Lollipops, and Exquisite Corpse” Chashama Gallery, New York, NY Carrie Haddad Gallery, Hudson NY 2007 “Patterns and Light”, Blue Hill Gallery, Blue Hill, ME “Suckers and Biters”, AG Gallery, Brooklyn, NY 2006 “100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art, New York, NY “On/Of Paper”, Kirkland Art Center, Clinton, NY “The Love Show”, Manchester Community College, Manchester, CT 2005 The Soap Factory, Minneapolis, MN “Small Tales”, Valdosta State University, Georgia National Juried Exhibition, Art Institute and Gallery Salisbury, MD, Juror: Stephen Haller “Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY 2004 “Women in the Middle: Borders, Barriers, Intersections” University of Wisconsin-Milwaukee “Girl Art Now”, Hera Gallery, Wakefield, RI 3 Person Exhibition, Monterey Peninsula College, Monterey, CA “The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery, Poughkeepsie, NY 2003 “Beefcake/Cheesecake”,Orange County Center for Contemporary Art, Santa Ana, CA,Juror: Jamie Wilson, Curator Halpert Bienniel, Appalachian State University, Boone, NC Juror: Jeff Fleming, Senior Curator, Des Moines Art Center “The Great White Oak”, Garrison Art Center, Garrison, NY Carrie Haddad Gallery, Hudson, NY 2002 “Cat Calls”, Red Clay Arts, Brooklyn “Hudson Valley Regional”, SUNY New Paltz Juror: Sydney Jenkins, Director, Ramapo College Art Galleries 2001 One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago One-Person Exhibition, Garrison Art Center, Garrison, NY 2000 “Vision 2000...

Little Blue, 2020 Encaustic & collage on thin edged board 12" X 12" This abstract geometric composition on wooden board features a playful geometric motif that is inspired by the artist's interest in architecture and blueprint drawings. The geometric forms are made in a more painterly, gestural manner rather than with a hard edge. Paint is not heavily built up upon the surface but it certainly exhibits a tactile quality which is characteristic of the artist's aesthetic. English's work celebrates the quirky, unexpected qualities of shapes and colors. About the artist: Donise English is a Poughkeepsie-based artist who received her MFA from Bard College and is currently a Professor of Studio Art at Marist College in Poughkeepsie, NY. Artist Statement: I am interested in drawing and collaging multiple layers of information that refer abstractly to maps, architectural drawings and blueprints or patterns and structures found in such things as roller coasters, power lines and fences. I use gouache and collaged paper in a series of layers that are a visual and ideological response to the previous layer to define my pictorial space. For each piece I create a set of rules to follow about the use of a limited palette, a grid format, opacity of paper and whether a piece may include curving lines or maintain a rectilinear structure. Resume: EDUCATION Master of Fine Arts in Painting Bard College 1986 Bachelor of Science in Art History State University College at New Paltz 1977 Additional Study: New York Studio School (Drawing Marathons) Columbia University, School of Architecture Women’s Studio Workshop TEACHING Professor of Studio Art, Department of Art and Art History, Marist College, Poughkeepsie,NY Coordinator, Interior Design Program, Florence, Italy campus 1992-present AWARDS Finalist, “Saatchi Showdown” 2010 Invitational Award for Outstanding Contemporary Talent, University of Bridgeport, CT 2000 Purchase Prize, “11th National Juried Exhibition” College of Notre Dame of Maryland, Baltimore 1999 First Prize, “Women in the Visual Arts ‘95” Erector Square Gallery, New Haven, CT 1995 Joseph A. Cain Memorial Purchase Award for Sculpture Del Mar College, Corpus Christi, TX 1994 Honorable Mention, “National Juried Exhibition” University of Bridgeport, CT 1993 Individual Artists Fellowship in Sculpture Dutchess Arts Fund 1992/93 Tallix, Morris, Singer Internship in Sculpture Tallix Foundry, Beacon, NY 1990/91 SELECTED JURIED/INVITATIONAL EXHIBITIONS 2016 “Let’s Stay in Touch”, Howard County Center for the Arts, Ellicott City, MD 2015 “Off the Grid”, Arts & Culture Program, Albany International Airport, Albany, NY “Gridspace”, KMOCA, Kingston, NY “Abstraction”, Carrie Haddad Gallery, Hudson, NY “Assuming Identity”, NY Institute of Technology, New York, NY 2013 “Modern Artists”, Carrie Haddad Gallery, Hudson, NY “Artists of the Mohawk-Hudson Region”, The Hyde Collection, Glens Falls, NY Stone Canoe/Community Folk Art Center, Syracuse, NY 2012 New York Institute of Technology, New York, NY “Contemporary Painters (Who Just Happen To Be Women)”, Carrie Haddad Gallery, Hudson, NY “Strange Glue: Collage at 100”, Cambridge School, Weston, MA “Dear Mother Nature”, Dorsky Museum, SUNY New Paltz, NY “Fresher Paint”, Rockland Center for the Arts, Nyack, NY Courthouse Gallery, Lake George Arts Project, Lake George, NY 2011 “Process+Content: Donise English”, Vassar College, Poughkeepsie, NY “Donise English-Paintings”, Orange County Community College, Newburgh, NY “Gender Matters/Matters of Gender”, Freedman Gallery, Albright College, Reading, PA 2010 Carrie Haddad Gallery, Hudson, NY “Encaustics: Wax and Image”, Westchester Community College White Plains, NY “Dots, Lines and Figures”, Carrie Haddad Gallery, Hudson, NY “Spring Awakening”, NY Institute of Technology, New York, NY “Clay City Dreams”, NY Institute of Technology, New York, NY “Texture, Pattern, Fragment”, Krause Gallery, Moses Brown School Providence, RI 2009 “Collage”, NY Institute of Technology, New York, NY “Working in Wax”, Bedford Gallery, Walnut Creek, CA “Encaustic 2009”, College of New Rochelle, NY “Three Artists”, Carrie Haddad Gallery, Hudson, NY “Convergence: The Human Experience”, Howard County Center for the Arts, MD 2008 “Suckers and Biters: Love, Lollipops, and Exquisite Corpse” Chashama Gallery, New York, NY Carrie Haddad Gallery, Hudson NY 2007 “Patterns and Light”, Blue Hill Gallery, Blue Hill, ME “Suckers and Biters”, AG Gallery, Brooklyn, NY 2006 “100 Artists, 100 Watercolors”, Jeannie Freilich Fine Art, New York, NY “On/Of Paper”, Kirkland Art Center, Clinton, NY “The Love Show”, Manchester Community College, Manchester, CT 2005 The Soap Factory, Minneapolis, MN “Small Tales”, Valdosta State University, Georgia National Juried Exhibition, Art Institute and Gallery Salisbury, MD, Juror: Stephen Haller “Greed, Envy, Jealousy, Fear”, TSL Warehouse, Hudson, NY 2004 “Women in the Middle: Borders, Barriers, Intersections” University of Wisconsin-Milwaukee “Girl Art Now”, Hera Gallery, Wakefield, RI 3 Person Exhibition, Monterey Peninsula College, Monterey, CA “The Feminine Eye”, Bradley University, Peoria, IL “Women Painting Women”, McNeese State University, Lake Charles, LA “Thought Patterns”, Kent Place Gallery, Summit, NJ “Surface, Matter and Artifice”, Dutchess Community College Art Gallery, Poughkeepsie, NY 2003 “Beefcake/Cheesecake”,Orange County Center for Contemporary Art, Santa Ana, CA,Juror: Jamie Wilson, Curator Halpert Bienniel, Appalachian State University, Boone, NC Juror: Jeff Fleming, Senior Curator, Des Moines Art Center “The Great White Oak”, Garrison Art Center, Garrison, NY Carrie Haddad Gallery, Hudson, NY 2002 “Cat Calls”, Red Clay Arts, Brooklyn “Hudson Valley Regional”, SUNY New Paltz Juror: Sydney Jenkins, Director, Ramapo College Art Galleries 2001 One-Person Exhibition, Davis and Hall Gallery, Hudson, NY “Beyond the Surface”, Womanmade Gallery, Chicago One-Person Exhibition, Garrison Art Center, Garrison, NY 2000 “Vision 2000...

Geometric and gestural abstract painting on canvas in earth tones of beige, tan, light brown, with details of white and fern green "Passing Through #1", by Jeanette Fintz in 2018 60...

Colorful abstract geometric painting in various shades of red, orange, green and blue, with accents of white, black, pink and light yellow "Partly Perpendicular", made by Hudson Vall...

Abstract geometric drawing on paper in bright sunflower yellow and red, with a custom light wood frame 'Yellow and Red Grid' by Donise English 30 x 22 inches unframed, 37 x 29 inches...

Abstract Geometric square mixed media painting on panel in colorful shades with aqua, yellow, pink, light green, and red on a background of brown with yellow highlights Big Little #1...

Abstract geometric three-dimensional wood wall sculpture in shades of blue, green, teal, with contrasts of white "Peekin", made by Hudson Valley artist, Stephen Walling, in 2020 35 x...

Abstract geometric mixed media collage in black, white, and grey with details of bright red "Layered Plan #6", made by Hudson Valley artist, Donise English, in 2009 15 x 12 inches, 2...

Abstract landscape painting of a white cloud in a light blue sky over a dark country field "Hayfield Two Thirty," painted by David Konigsberg in 2019 oil o...

Abstract encaustic painting with brown branches with dark red berries against a light beige background "Winter Berry Diptych" made by Hudson Valley based artist, Allyson Levy, in 201...

Abstract landscape painting of a white cloud in a light blue sky over an expansive dark brown country field "West Wind," painted by David Konigsberg in 2019 18 x 24 x 2 inches Ready...

Abstract painting made with light green encaustic and brown hemp leaves and branches resembling a tree Happanese, made by Allyson Levy in 2020 48 x 34 inches hemp leaves, branches, a...

Neutral toned abstract painting of green plant leaves on a light beige cream colored encaustic background "Snowflowers 8," by Hudson Valley artist, Allyson Levy, made in 2020 spurge ...

Abstract painting with green encaustic and light yellow flower petals on wood panel "Wallpaper 2" made by Allyson Levy in 2020 encaustic and flower petals on wood panel, 24 x 24 x 2 ...

Abstract painting with assorted neutral toned golden tree bark and purple violet encaustic "Barking Betula", by Hudson Valley artist, Allyson Levy, mad...

Photorealist still life painting of green lotus flower petals and a brown lotus pod against a light blue background oil on canvas, 16 x 16 inches, 17 x 17 inches in dark wood moulding Signed lower left Painted with the exactness of a still life photograph, this hard edge realist painting by artist Frank DiPetiro features a brown lotus pod with lush green leaves on a pale grey-blue background. Inspired by close observations of the natural world and encounters with still moments that give us pause. Lines, shapes and colors encountered in nature, reveal the cycles of decay and regeneration that are life’s constant state of change. The work has a quiet, meditative quality. The subject is portrayed in a manner true to their existence in a specific time and place and selected based on considerations of visual relationships to formal elements of painting. Aspects of photo realism, hard edge and color field techniques are utilized to isolate the uniqueness of the subject’s detail, as well as emphasize flatness and illusion of depth within the two-dimensional space of the painting. About the artist: Frank DiPietro was born and raised in Scranton PA. He received a Bachelor of Art from Bloomsburg University in 1997, majoring in both Painting and Ceramics with a minor in Art History. In 2000 he earned a degree in Art Education from Moore College of Art and Design while continuing his studies in painting. Frank lived in Philadelphia for twelve years painting and teaching at several museums, art centers and schools in the region. In 2010 he and his family moved to Chester County PA, where he currently resides. Frank currently teaches painting classes and workshops at the Delaware Art Museum and Longwood Gardens...

Portrait of Dave Winfield Edward Avedisian 20 x 14 inches, acrylic on stretched canvas Armenian-American artist, Avedisian was best known for his work made in New York City during the 1960s: brilliantly colored, boldly composed canvases that combined Minimalism’s rigor, Pop’s exuberance and the saturated tones of Color Field painting. He was largely recognized for a series of Beach Ball paintings that emerged in the early 1960's and into the later 1960's the artist began painting larger horizontal paintings, featuring vertically intersecting beacon-like stripes that highlighted characteristics from both the Post-Painterly and Color Field movements. In this portrait, Avedisian using his signature use of color, combining bright rusty reds and oranges against a metallic green gold backdrop. A major work from Avedesian's color-stripe series was featured on the cover of Artforum's January 1969 issue (pictured here). Also pictured are photographs of the artist c. 1970 in his studio in New York City and catalog pages from Avedisian's inclusion in the American Painting Now Expo at the Institute of Contemporary Art in Boston, MA in Dec 1967 - Jan 1968. The exhibition, organized by art critic Alan Solomon, featured one of Avedisian's signature Beach Ball paintings alongside large works by Robert Motherwell and Jim Rosenquist. About the subject: Dave Winifield is American former Major League Baseball right fielder born in 1951 and who played for six teams (San Diego Padres, New York Yankees, California Angels, Toronto Blue Jays, Minnesota Twins, and Cleveland Indians) during his 22 year long career. He had the winning hit in the 1992 World Series with the Blue Jays over the Atlanta Braves. Winfield retired in 1996 and was elected to the Baseball Hall of Fame in 2001, in his first year of eligibility. About the Artist: In the 1960’s, Edward Avedisian was one of the youngest of those luminaries producing a grand new abstract painting. Shown first at Ivan Karp and Dick Bellamy’s Hansa Gallery and then at Robert Elkon, Avedisian’s insouciant mix of pop playfulness, color field cool and high formalist style put his art in a unique, and at the time generously rewarded, position. Paintings made it onto the cover of Artforum, were purchased by all the major museums, were among the few abstract works shown as representative of America’s post-war achievement at Expo 67 in Montreal and comprised a cornerstone in histories of the period written by Barbara Rose, among others. The artist was largely influenced by his Color-Field predecessors, Mark Rothko and Barnett Newman. Throughout the 1960's and into the mid 1970's the artist was celebrated in the Manhattan art scene, contributing to the Post-Painterly Abstraction movements with contemporaries Helen Frankenthaler, Andy Warhol, Jules Olitski, and Larry Poons. Museum Collections: Albright-Knox Art Gallery, Buffalo, New York Brooklyn Museum, New York Chrysler Art Museum, Norfolk, Virginia Denver Art Museum, Colorado Flint Institute of Arts, Michigan Jack S. Blanton Museum of Art, Austin, Texas The Larry Aldrich Museum, Ridgefield, Connecticut Metropolitan Museum of Art, New York Minneapolis Institute of Arts Minneapolis Society of Fine Arts Neuberger Museum of Art, State University of New York, Purchase Los Angeles County Museum, California Neuberger Museum, SUNY, Purchase, New York Parrish Art Museum, Water Mill, New York Solomon R. Guggenheim Museum *above description text is supported by Alexandra C. Anderson's article on Edward Avedesian in Artforum's January 1969 issue. NY Times Obituary, published Aug 23, 2007 by Roberta Smith: Mr. Avedisian was best known for his work in the 1960s: brilliantly colored, boldly composed canvases that combined Minimalism’s rigor, Pop’s exuberance and the saturated tones of Color Field painting. A frequent motif was a cluster of bright seedlike orbs corralled at the center of a vibrant monochrome field by larger rings of color, creating an image that could resemble a buoyant cross-section of some unknown fruit. Mr. Avedisian was born in Lowell, Mass., in 1936 and studied art at the Boston Museum School. By the late 1950s he was living in New York, part of a generation of promising young painters that included Frank Stella, Larry Poons and Darby Bannard. From 1958 to 1963 Mr. Avedisian had six solo shows in New York galleries, including two at the Robert Elkon Gallery, where he continued to show almost every year until 1975. By the early 1960s Mr. Avedisian was a rising star. During that decade, his work appeared on the cover of Artforum, in “The Responsive Eye” exhibition of Op Art at the Museum of Modern Art and in four annuals at the Whitney Museum of American Art. His paintings were widely sought by collectors and acquired by major museums in New York and elsewhere. In the mid-1970s Mr. Avedisian moved to Hudson and became less visible. His paintings soon began shifting toward representation; he took to calling his abstract paintings “a period style.” But he continued to be well served by his feeling for color, scale and surface. His landscapes described his surroundings in blunt, flat shapes and singing hues reminiscent of those of Marsden Hartley and Paula Modersohn...

Abstract acrylic painting on canvas with a pastel pink, yellow, and gold palette “The Return of Spring”, painted by Ragellah Rourke in 2019 48 x 36 inches, acrylic on canvas Sides are cleanly painted so additional framing is optional Wire backing for easy hanging Artist signature located on the back This contemporary, abstract painting was created by Hudson Valley based artist, Ragellah Rourke in 2019. Her most recent body of work focuses on relationships between color and space. Elements of symbolism, reminiscent of Gustav Klimt, decorate the composition with abstract markings and calligraphic gestural brushwork. Warm yellow and gold tones with hints of green radiate upwards into a background of pastel pink, recalling the awaking the nature during the beginning of spring. There is wire installed on the back for easy hanging. The painting’s sides are cleanly painted so additional framing is optional. Artist Statement: My paintings are very textural and built up slowly over long periods of time. The surface holds the memory of the painting’s development, all the time looking for clues for what will come next. I look for connections between the forms that develop. They are never something that I logically calculate, but rather a long string of chances, thoughts, and guesses. The appearance and meaning develop throughout the progression of the painting. It is a continuous search for resolution, balance and mystery within the painting. Artist CV: 1963 Born Albany, NY 1998 BA Painting, The University at Albany, State University of New York Residing: East Berne, NY SOLO EXHIBITIONS: 2012 Carrie Haddad...

#5715 Overgrown Barn, 2019 by Harry Orlyk (Impressionistic, en plein air autumn landscape of a sunlit barn in a field) oil on linen mounted on homasote board, ready to hang as is 14.5 x 14.5 inches unframed Signed lower right corner Harry Orlyk is celebrated for his ability to capture rural country landscapes with impressionistic brushstrokes and bright color palettes. Painting daily, the artist drives throughout the upstate New York, stopping to observe and paint 'en plain air' whenever and wherever a landscape strikes him. Orlyk prefers to leave his canvases unframed to reveal the exposed linen which are nailed to sturdy homasote boards for easy installation. This painting is a perfect example of Orlyk's impressionistic aesthetic. Here, the artist captures a quaint country landscape in a range of warm, golden tones. Orlyk's signature use of soft yellows creates a gently luminous atmosphere. The scene is made with gestural strokes of paint that culminate onto a textured, impasto surface. The artist's signature is located in the lower right corner. The artist prefers to leave his paintings unframed. The painting can be installed with one nail, hammered behind the linen and through the homasote board. About the artist: Harry Orlyk was born in Troy, New York in 1947. In 1971 after graduating college, he went on to graduate school at the University of Nebraska at Lincoln . Over the next nine years, he was influenced by several Nebraskan artists. "Still-life painter Robin Smith taught me how to use paint without turpentine - to paint from the tube." He also admits the influence of photographer Lawrence McFarland who taught him what spiritual space was, and how to emphasize it. Lastly he credits well-known Lincoln painter Keith Jacobshagen...

Impressionistic, en plein air summer landscape of a rural country field overlooking a barn and silo Bright, sunny palette of green, blue and beige #5712 Gardenworks, painted by Harr...

Abstract cloudscape painting of a white cloud over a black country landscape "Black Dirt", painted by David Konigsberg in 2019 23 x 24 inches Ready to hang, sides are painted white ...

Abstract Figurative city landscape painting of Tompkins Square in Manhattan "Tompkins Square" painted by William Clutz in 1960 Oil on canvas, signed at bottom 30 x 25 inches, 30.5 x...

Colorful urban street scene of Brooklyn Bridge, NYC City Landscape Painting by William Clutz "Roebling's Dream, The Great East River Bridge", 1990 oil on canvas 40 x 70 inches, 41 3/...

Photo-realist oil painting of a classic brick building exterior in New York City 28 x 50 inches, oil on canvas painting Wire backing for easy hanging Unframed with white painted sides This contemporary, realistic oil painting of a New York City brick building exterior was painted by Richard Britell in 2019. Employing his mastery of the troupe l'oeil technique, Britell paints the smooth red colored stone building in extreme detail assuming a three-dimensional quality with close attention paid to shadow and perspective. This building is reminiscent of neo-classical architecture, popularized in the mid-late 1800's and the striking red exterior contrasts against the white stone window trim, further accentuating the painting's troupe l'oeil qualities. The painting on canvas is complete with wire on reverse for seamless hanging. About the artist: Richard Britell, a career painter, studied at Pratt Institute with Philip Pearlstein and Walter Erlebacher. His first show in NYC at Staempfli Gallery was sold out, and reviewed in the New York Times. Britell’s new works revolve around large, dreamy cityscapes tending toward abstraction. The artist currently lives in Pittsfield, MA. Born Utica, New York, 1944 Education 1962 – 1964 Pratt Institute, Brooklyn, NY 1964 – 1966 Syracuse University, Syracuse, NY B.F.A. 1970 – 1972 University of Massachusetts, Amherst, MA, M.F.A. Solo Exhibitions 2011 “Measuring the Universe” Lauren Clark Fine Art, Housatonic, MA 2010 “And Now For Some things Completely Different” Lauren Clark Fine Art, Housatonic, MA 2010 “The Figure, The Figure, The Figure and The Figure” Lauren Clark Fine Art, Housatonic, MA 2009 “A nest of robins in her hair” Lauren Clark Fine Art, Housatonic, MA 2007 “NY, NY” Lauren Clark Fine Art, Housatonic, Ma 2003 “Image and Text” Tokonoma Gallery, Housatonic, MA 1999 “From Architecture to Abstraction” Tokonoma Gallery, Housatonic, MA 1998 “New Work” Carrie Haddad Gallery, Hudson, NY 1998 “New Figures” Ute Stebich Gallery, Lenox, MA 1995 “Richard Britell, New Work” Katharina Rich Perlow Gallery, New York, NY 1993 “New Work on Gilded Panel” Phyllis Kind Gallery, New York, NY 1985 “Fresco Panels...

Hudson River, Frozen (Minimal Winter Landscape Oil Painting on Canvas) 36.6 x 60.5 inches oil on canvas, unframed (thin wood stripping only) Contemporary Hudson River winter landsca...

Geometric and gestural abstract painting on canvas in earth tones of green, beige, tan, green, light brown, and blue. Plan for Spring #1, by Jeanette Fintz in 2018 24 x 24 x 2 inches...

Geometric and gestural abstract painting on canvas in earth tones of green, beige, tan, green, light brown, and blue. Plan for Spring #2, by Jeanette Fintz in 2018 24 x 24 x 2 inche...

Modern impressionist style figurative painting of a family in a colorful park landscape “Park Spring” painted by William Clutz in 1996 60 x 50 inches in a natural wood floater frame Wire backing, signed lower right This figurative oil on canvas painting was made in 1996 by William Clutz as part of a series of works called "Crossings". These paintings were a study of NYC dwellers engaging in the simple, daily activity of crossing the street. In this piece, Clutz captures a joyful moment of a mother and father walking in a sunlit park landscape with their young child. Bright sunlight radiates through lush fall foliage and fills the scene with a soft orange light. With broad, expressionistic brushstrokes, he discovers the extraordinary in the ordinary, by emphasizing the effects of sunlight on the human form. The painting is in excellent condition and is framed in a natural wood floater frame. More about the artist: In New York in the early 50's and 60's, abstract expressionism was the orthodox approach to art at the time. However, Clutz was committed to his personal style that focused on abstracted human figures within urban tableaux. Working in a context of artists who challenged abstract expressionism's popularity in New York, Clutz established himself as a significant proponent of abstract figuration. His paintings focus on human figures within the urban environment, often exposing the transfiguration of his subjects as they travel through the complex light of city streets or summer parks, as shown in two of his early works. Clutz's interest in working from direct observation of urban life was influenced by a long-standing interest in German Expressionism, as well as artists like Henri Matisse, Arshile Gorky, and Nicholas De Stael...

Early Morning St. AM 1987 (Impressionist Figurative City Scene by William Clutz) Impressionist Painting of A Man Crossing a Street in Manhattan in the Early Morning Sunlight Colorful Painted by William Clutz in 1987 50" X 40" x 2", oil on canvas This figurative oil on canvas was painted in 1987 by William Clutz as part of a series of works called "Crossings". These paintings were a study of NYC dwellers engaging in the simple, daily activity of crossing the street. Clutz discovers the extraordinary in the ordinary, simply by studying how the sunlight bounces and reflects off the human form. In New York in the early 50's and 60's,, abstract expressionism was the orthodox approach to art at the time. However, Clutz was committed to his personal style that focused on abstracted human figures within urban tableaux. Working in a context of artists who challenged abstract expressionism's popularity in New York, Clutz established himself as a significant proponent of abstract figuration. His paintings focus on human figures within the urban environment, often exposing the transfiguration of his subjects as they travel through the complex light of city streets or summer parks, as shown in two of his early works. Clutz's interest in working from direct observation of urban life was influenced by a long-standing interest in German Expressionism, as well as artists like Henri Matisse, Arshile Gorky, and Nicholas De Stael...

View from the Train, 2019 24" X 40" x 1", oil on canvas This contemporary oil painting depicting a metropolitan view is the work of realist painter Patty Neal. The painting offers an intimate view of the city, as seen from a window, as it peeks from behind two metal structures. The dark browns and bright golds beautifully compliment the dusty blue, gray sky. Neal works highlight everyday city scenes, utilitarian infrastructure, and industrial or electrical apparatus. Artist statement: A life is an accumulation of experiences: visual, emotional and mental. By compartmentalizing these snippets of life we create boundaries. The focus of my work for many years has been the exploration of these various life aspects and how they are bound together or bound from each other. My process is often literally composed of boundaries. I make a painting by putting together multiple panels, or I segment a single panel into separate visual spaces. The works are made up of pieces or elements of city and landscape. While exploring the concepts of boundaries I play with visual “reality.” Sometimes I combine images that are upside down with those that are not and juxtapose images from different contexts. Literal boundaries, such as walls fences, expanses of water and highway median strips are also used. My intent is to invite viewers to look beyond these boundaries to see the possibilities of a connected whole. About the artist: Solo Exhibitions 2011 "Interior/Exterior", Carrie Haddad Gallery, Hudson, New York 2008 ”Landscape Revisited”, 1870 Gallery, Belmont 2005 Nomad Rug Gallery, San Francisco 2004 "Landscapes"@Klein's, San Francisco 2004 "Landscape Renewed," Space 743, San Francisco 2003 Exploding Head...

Photo-realist oil painting of a classic red brick building exterior in New York City Oil on linen mounted on panel in a handmade walnut frame 10 x 27 x 2 inches framed Wire backing ...