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Moonlit Sonata

Moonlit Sonata

Randy Peyton

Oil

18 x 36”

$3950

Moonlit Sonata is a painting that is more about the sheep on the distinctive horizon line, as Peyton disengages from his signatory architectural artistry to breathe life into a highly unusual pre-nocturnal livestock flock.  Grazing on the numerous and overgrown vegetation, the sheep speckle hints of grey and white along an already abundant floral field. Blending in hue and scale the animals do not distract from the foreground of blooming clusters. The mid ground in Moonlit Sonata is subjugated by two mature tree clusters behind a ranch-land posted fence; obstructing the view of a shadowy tree line under a moonlit sky.

Peyton’s pictorial illustration of the celestial moon is over exaggerated as if to mimic some alien-esque landscape similar to our own. Full in its entirety, the lunar satellite is round with perfection-illuminating the private estate of some Texas Rancher. Although a yellowish haze drifts up from the lessened background, there is only a minimal painterly sense of the diminishing sunlight.

As an Impressionistic painting, Peyton captures the true essence of the changing of light -as the day winds down slowing engulfing the viewer with the blue-haze milieu.

By: Gabriel Diego Delgado

Art Consultant

J.R. Mooney Galleries

Looking East by Randy Peyton

Looking East

Randy Peyton

Oil

22 x 34”

$3,500

An exaggerated curvature shapes the foreground- elevating the viewer to a top of an unknown hillside, a vista overlooking a scenic landscape. In the distance is the silhouetted backdrop a major metropolitan – complete with capital building and high-rises.  Alluding to Austin, Texas -based on the bluebonnet sentimentality, Peyton does not indicate any conclusive evidence in factuality of said demographic; like using a painting title reference or a distinct building outline.  Working on a simplistically balanced composition, Looking East has a mirrored effect with the likes of Live Oaks that dominate the foreground.  Along side the minimal tree line is the tri-level cactus strata that are almost too perfect in shape and intervals. Again the cactus and bluebonnets are arranged in a dual configuration that is cut across the forefront of the footpath. With the trail entering the picture plan in the middle of the painting, our eye goes straight up the path, and into the mid and back ground, with first interests of being drawn into the blue- miasma skyline.

By: Gabriel Diego Delgado

Art Consultant

J.R. Mooney Galleries

Copyrighted 2012

South of Town by Randy Peyton

South of Town

Randy Peyton

Oil

24 x 36”

$4,850.00

Randy Peyton represents the new cohort of Texas Landscape Painters; leading a post Onderdonk generation of Bluebonnet Bounty.  Peyton has captured the Texas landscape like a scenic shaman, creating emotional and nostalgic reminiscences of days nurtured by the Texas heat- causing the viewer to relax in an art induced medicinal meditation.

South of Town, a 24 x 36” oil painting by Peyton is a classic example of a signature style; complete with Bluebonnets, Live Oaks, a small barn, a horse carriage trail, and semi-arid vegetation.  Peyton knows his role in the historical timeline of Texas Landscape painters and this prosperity allows his a certain freedom evident in his images.

Bluebonnets bookend the sides of the gravel path that snakes through the painting like a question mark- pulling your eye straight to the horizon line and over to the dominate Live Oak on the left side of the mid-ground.   To balance out the composition, Peyton places the wood paneled brown barn opposite of the ominous and mature tree.  The humbled hay hangar opens its wide doors showing a shadowed interior.  Deep obscurity hides straw bales and husbandry necessities. The roof peaks and pitches slant down to a diminutive corral- vacant of any animals.  Although the dirt trail shows signs of wear, the total intuitive emptiness of the location implies an abandoned site-a ranch hidden deep in the backwoods of Texas; a product of the times. 

Impressionistic bluebonnets are minimally detailed, allowing for assumptions of validity.  The official state flower of Texas is arranged in 7 neat patches of underbrush- each lining the trail to the barn. Spotted with yellow and pink flower variations, we see a deliberate attempt to establish geography, but not caring for a realistic rendition of regional Botany.  

The main players of this scenic sonata are the three Live Oaks that secure a stoic trifecta of Quercus fusiformis; each placed in strategic areas in the composition –far left, far right, and exact middle.

Accented with spare cactus and open skyline, Peyton’s work of art compels us to imagine ourselves in the typical barren desert-scape of the Southern United States- feeling the arid heat and listening to the sounds of crickets.

-By: Gabriel Diego Delgado

Art Consultant

J.R. Mooney Galleries of Fine Art

Ferenc Tulok

Ferenc Tulok

Evening Repast

Oil on Copper

5 x 7”

..."Tulok, a native to Budapest has always enjoyed painting and drawing.  He credits his break from his professional career in 1989 as a life changing decision that jumpstarted his professional artistic endeavors. Refining his trade and using a little fine art finesse, Tulok’s art is very distinguishing with a characteristic Renaissance style.

 Having mastered the art of painting on copper, Tulok has found a unique ground that has allowed his colors to flourish.  Part old master painter, part Realist, Tulok has rediscovered the chiaroscuro aesthetic; allowing a new generation of patrons to explore the blackened surroundings and out of view light source- accentuating the traditional still-life compositions.  His soft shadows, deep crimsons, and vibrant hues could not be achieved any other way, but with the exploration of this unusual metallic undercoating.

Often exaggerating the dew, moisture, and condensation on the elements in the composition, Tulok redefines a classical conception with a still life reemergence."

By: Gabriel Diego Delgado

Art Consultant

JR Mooney Galleries

Jung Yoon

Jung Yoon

Morning’s First Light

48” x 60”

Oil

By:
Gabriel Diego Delgado
Art Consultant
J.R. Mooney Galleries of Fine Art

..."Jung Yoon, aka (Max J. Yoon) a Korean Painter and former Bass Guitarist for Korean Pop Superstar Patti Kim, is a master of the superficial sunlight; exaggerating the ornately clouded sunrays of optimism and sumptuousness.  Yoon creates striking landscapes where the ground plays “second fiddle” to the intense rays of light emitting from behind the clouded atmosphere of superficial sunsets and dawning.

Morning’s First Light is no exception. A simple four quadrant composition and central path and tree cluster- the gestalt of the painting rests solely on the predawn luminosity that scatters across the vineyards and orchards of some imaginary estate.  Part Thomas Kincaid, part Venetian Impressionism- Yoon’s signature is seen in the golden rays that disperse a multi value palette of pinks, crimsons, blues, oranges, and purples across the semi-obstructed skyline.

Although the pathway leading into the center of the composition is a bit flat, the acute angles of the chateau on the upper left pulls your attention into the shadowy corner of celestial cerulean.  Deep in the heart of the off-centered conundrum of lavishly overgrown trees, a manor peeks out from behind the over simplistic vegetation.

Playing off the homestead viewpoint, Yoon interjects with a seemingly misplaced lake. Bland in his color intensity, the water emits a cool and refreshing feeling-even if there is little effort in his attempts to capture the true essence of the morning radiance in the reflections.

Even though each section of the painting has its place in the composition and anchored to its position by deliberate visual breaks, there are no surprises in the quasi-autumn scenery but the beaming joie de vivre of aura and divinity."

Jung Yoon

Morning's First Light

Oil

48 x 60"

"Mooney Makes Sense"

"Mooney Makes Sense"

See our newest Boerne Business Monthly Column of "Mooney Makes Sense"

www.bluetoad.com/publication/?m=5721&l=1

Boerne Business Monthly July 2012 edition

Stop by the San Antonio or Boerne Galleries and See why we are the custom framing experts.

Visit us online at www.jrmooneygalleries.com

Jose Vives-Atsara

..."Known for his peasant scenes, this “woman in the market” is exemplary in the fact that our sensibility of this individual can be assessed even without seeing her face. Our understanding her existence or impoverishment can be calculated by the fact she is in the marketplace selling her commodities under a tarp, sitting on the ground.  Additional still life elements are introduced to the left of the subject matter by way of various editable selections and containers.  Vives’s careful attention has been paid to the folds of the fabric as well as the braid in her hair."

-Gabriel Diego Delgado

Art Consultant

JR Mooney Galleries

www.jrmooneygalleries.com

"Mujer en el Mercado"

oil

Jose Vives-Atsara

$15,000 U.S.D

-Jose Vives-Atsara was born in Vilafranca del Panades in the Catalonian region of Spain on April 30, 1919. As a small boy he loved to sketch with pencil and paper. He began painting at the age of eleven. His first one man show came at the age of fourteen. From that time on, painting has been his love and his way of life.

Jose studied art at Saint Raymond College and the School of Fine Arts in Barcelona. He claimed that his most inspirational teacher was nature itself.

Mr. Vives-Atsara came to San Antonio in 1956. Within twenty years, he became one of Texas's most distinguished artists. His use of a palette knife in painting allowed him to blend rich pure pigments into a powerful statement of color directly on the canvas. This style produced works that are distinctively Vives-Atsara.

Jose is represented in such collections as the Museum of Modern Art, Spain; Fort Worth Art Museum, Texas; His Royal Highness Juan Carlos, King of Spain; the Vatican; the State Capitals of many southern states of the United States. His work is also in many private collections in the United States, Spain, Mexico and Venezuela.

For many years Jose was in great demand as a lecturer and teacher. He was the Artist-In-Resident at Incarnate Word College, San Antonio, Texas. Although Mr. Vives-Atsara studied with many well-known European teachers, he insisted that he was continually learning about painting, and throughout his life his range of subjects continued to grow. The great intensity and character he captured from the people of Mexico, the depth and strength of the colors in his florals, and his breathtaking Texas landscapes manifested an interest and acuteness of mood too infrequently found in artists.

 -excerpt from www.jrmooneygalleries.com

P. Charles, "Peers"

P. Charles

“Peers”

Oil

24 x 48

P. Charles, a prolific painter from South Korea. A Veteran of the Korean Air Force, P. Charles lost his arm in an aviation accident. Residing in Korea, P. Charles is a nature enthusiast and has been investigating fowl for a few years. One other interesting fact is that some galleries around the U.S. have not identified P. Charles correctly and have been selling him as a rural Northeastern artist who lives on a farm and paints his own livestock.   Nothing could be farther from the truth.

Come see why we are the Fine Art Experts.

Three cocks rustle in an ambiguous landscape, standing brood to brood.  Quick palette knife gestures of cobalt blue; Phthalo Blue and Prussian blue all combine to show impressionistic gleam and glisten of fowl feathers. With dominate red hues crowning the heads and combs of such roosters; P. Charles creates a playful gaze between competing male encroachments.   Although the animals are a bit more repetitious in look and feel than what he normally illustrates, a cohesive composition is created with this “three’s a crowd” pictorial.

-Gabriel Diego Delgado

Art Consultant

JR Mooney Galleries of Fine Art

Mark Keathley

Mark Keathley

“The Sabinal Starts Here”

Written by: Gabriel Diego Delgado

Art Consultant 

JR Mooney Galleries

Known more as a nostalgic landscape and scenery painter, Mark has done some amazing work painting and illustrating the Native Americans, Old West, Texas Wildlife as well as an abundance of other subjects and genres.  However, one of his newest acquisitions at J.R. Mooney Galleries is a small 6” x 8” gem titled “The Sabinal Starts Here”.  This shallow riverbed stretches out from the foreground to the background, drawing the viewers’ eye into the artwork.  The mouth of the river dominates the lower horizontal linear space.  Mixing a cool blue palette on the right side and contrasting that with a warmer orange and green mixture on the left, Mark lays out a simple composition and color scheme. Deliberate is his decision to plant a brownish cotton tail grass in the middle of the river; anchoring the compositional elements around it. The far left side is dominated by heavy underbrush and green coniferous trees. Playing on dichotomies, the right side is subjugated by a receded riverbank, exposing the sun bleached sandy beach of a dried out Texas landscape. Barren trees are dotted along the banks, revealing a timberline that draws the boundary before an unmanageable thicket. A cliffside, rolling hills and mountains peek out in the background laying claim to the ever-expanding Texas Landscape.

"The Sabinal Starts Here"

Arthur McCall New Work July 2012

Arthur McCall

Written By: Gabriel Diego Delgado

Art Consultant

J.R. Mooney Galleries 

The True Texan and artist, Arthur McCall is back with two new smaller works.  Each one is simplistic in genre but detailed for investigation. Fowl, Vegetation, Cactus and Foliage all mix within two small paintings that hold the viewers attention. 

In McCall’s Searchin’- Wild turkeys searching for victuals in the light underbrush show their eager persistence in scouring the ground to make the meal. Details in the feathers, ground textures and dried up riverbed situates the viewer in the unknown but slightly familiar acreage- one of the days long ago when Father and son happen upon the game in a outdoor manly bonding retreat.  Accompanying the intrinsic detail of the work we cannot help but hear the gobble of the birds as they peck and forage.  Plus, we see the water is not yet stagnant, feeding life of those in this semiarid desert climate.  On the otherhand,

Arthur McCall’s “Yellow Cactus” illustrates a picturesque field of voluptuous cactus, reveling in the afternoon sun. Stretching beyond what the eye can see - this infinite field of cactus is complete with a pollinating honeybee, cherishing the sweet succulents of these golden Texas Treasures.

"Searchin"

"Yellow Cactus"

 See More Works Available from Arthur McCall

Dalhart Windberg, "Yucca Cactus"
By: Gabriel Diego Delgado
Art Consultant
J R Mooney Galleries

..."This horizontal painting by the world renowned Dalhart Windberg, is a 60’s throwback to a time of a palated aesthetic. This orange, garish, and post-apocalyptic landscape is complete with barren branches of broken vegetation that references the Pencil (stick) cactus; bookending a vital cactus patch.  Approaching such a diminishing acute angle, the flowered cactus in the foreground start at a higher depth at the left side, diminishing in perspective or measurable volume as the painting reads left to right. The viewer’s connection breaks at a cluster of spiky Yucca cactus on the right; a dark and shadow ridden vegetation that caters to the brazen fire-burning skyline of insidious haze.  Windberg’s palette knife strokes make for choppy and slanted textures on the rocks and stones. Although this creates a somewhat muddy color field; the application works w
ith the motifed application of knife and brush- such is the example of the cactus themselves.  Usually Windberg pays careful attention to shadows, light, color, and values, but in “Yucca Cactus” his play on shade turns to gloom as he investigates the “un-penetrate-able” crevices that lurk in the midst of such undergrowth.  Unusual in his decision to add such a secondary color as the main hue, this painting is a gem, unique to his roster of paintings and surely a collector’s item in its own integrity."

JR Mooney Galleries
8302 Broadway
San Antonio, TX
210.828.8214

www.jrmooneygalleries.com

New Artworks by Thomas Arvid at J. R. Mooney Gallery