Friday, January 25, 2013

J.R. Mooney Galleries at Texas Capital


Austin, Texas 

State Capital Awards


J.R. Mooney Galleries
of Fine Art

"HONORED" AT TEXAS CAPITOL

 
-----Austin, Texas––(Rep. “Doc” Anderson (R-Waco)/Sen. Leticia Van de Putte (D-San Antonio))  recognized J.R. Mooney Galleries of Fine Art as a Texas Business Treasure on the Senate and House of Representatives floor at the State Capitol in Austin on Jan. 23, 2013.
 
The distinction from the Texas Historical Commission honors businesses that have been in existence for more than 50 years, and have remained in good standing.  J.R. Mooney Galleries of Fine Art joins 41 other businesses from around the state of Texas who share this recognition. Six additional businesses were added to the list on Jan. 23 at the Capitol, the same day J.R. Mooney Galleries of Fine Art was recognized on the Senate floor. ( Making the total count of Texas Businesses to 42). 
 

-“The fact that we are not only a fine art gallery but also a custom framing studio has been a great benefit. The blend of the two together has allowed us to maintain a volume of business that keeps our company going and growing.”
 -Mr. Robert Mooney of J.R. Mooney Galleries

 
Created in 2005 through legislation authored by Sen. Leticia Van de Putte and sponsored by Rep. Charles “Doc” Anderson, the program recognizes well-established Texas companies and their exceptional historical contributions to the state’s economic growth and prosperity.
 

-“The businesses recognized here today exemplify the reason a company remains successful year after year…Hard work, quality service, and resourcefulness go a long way in the Lone Star State and we’re pleased to recognize those traits.”- Sen. Leticia Van de Putte

 
A special decal identifying the business as a Texas Treasure will be publicly displayed at J.R. Mooney Galleries of Fine Art.   Consumers will know that when they spot the familiar Texas Treasure Business icon, they are doing business with a well-established, Texas-owned-and-operated business that has long contributed to job growth, stimulated the local economy, and generated state and local revenues.
 

“It is a privilege for us to recognize our long-established businesses that have remained committed to Texans for generations, while creating jobs and stimulating economic growth,” said THC Chairman Matt Kreisle. “May this recognition serve to increase your success and productivity for many years to come.”


 
-Mr. Robert Mooney of J.R. Mooney Galleries on the House of Representatives Floor
(center)


-Mr. Robert Mooney with Dr. Donna Campbell (R) of Texas Senate


 Dr. Donna Campbell in Senate reading Proclamation and award to JR Mooney Galleries


Full List of Texas Treasure Historic Business Awards


Thursday, January 17, 2013

Chemistry in Today's Artworld


Richard Riverin
Artistic Chemistry

-Gabriel Diego Delgado

Art Creditability is not always evident when looking at fine art. We can review visual prestige based on art history, personal preferential comparisons and other factors that play a role in how we appreciate what we see in a studio, gallery or museum.
Yet, sometimes the back-story is as interesting as the aesthetic; the building up of a personal artist chronicle that forms a foundation in which we mentally seize and utilize along on the ride of our art experiences and admirations.

Richard Riverin is an artist whose past successful career(s) shaped where he has arrived today, giving us a playful epiphany of collaborative efforts; Scientist turned manufacturer, turned gallery owner, turned professional artist.  Often mislabeled, maybe a bit of nonconformist, Riverin’s artwork cannot be pigeonholed into a simple Impressionistic genre. Sure, on first glance, all the right components, ingredients, and compositional constituents ring true for such acceptance into Art Historical classifications.  But, “none shall pass”, I say. “You blinded me with Science! I cry.


Comparatively yes, we know Robert Gamblin of Gamblin Artist Oil Colors ™ developed his own oil paints with alkyd resins mixed with pure pigments, raw materials and Gamsol odorless mineral spirits. While century old Winsor & Newton Artist Oils has been using the same chemical standard since 1832; providing great artists’ standard products used in timeless impressionistic paintings over the last hundred years.  Fast forward to contemporary chemist pioneers like Richard Riverin who is pushing the limits of synthetic polymers for 21st century applications.

It’s not very often that the scientific world crosses paths with the art world. Yves Klein dabbled with this discipline in the 1960’s with his patented ultramarine IKB (International Klein Blue); a synthetic granulated polymer was used exclusively by him in his anthropometries series of monochrome paintings.

And now, Richard Riverin, the chemist/artist patents a new high gloss synthetic polymer to use in Fine Art. A painted canvas that can be rolled, without fear of cracking; paint with a flexibility that has not been seen in the fine art realm before. Unique to his art, Riverin has an ability to be a game changer while maintaining a certain traditional and classical artistic genre. Two worlds colliding for artistic achievement, Impressionism and artist patented synthetic polymer paint.



“Early Snow”, is a 20” x 24” landscape of some nondescript setting.  Washed-out tones mixed with a foggy-like ethereal, cancel any second glance in normal circumstances. There is nothing to hold the eye, color wise,- no “push and pull” of vibrant edges, hues or contrasting colors {A Fauvism favorite}. But hold onto those “rose colored” glasses of positive vibrations, layers and layers of scraped on paint, gestural swipes and strikes; subtle blending of streaks create activated surfaces that are reminiscent of segmented plates on tortoise shells. High gloss swatches of color come together like Seurat pointillism on steroids.  Groupings of three hence back to a sacred undertone of the Divine Trinity; a throwback to his devout religious beliefs.


Flat spatial dimensions arise from the general application of chosen pigments. There is a visually distinguishable front, middle and background, but with identical sized dabs Riverin’s flatness contrasts typical paintings of this genre. He wants us to focus on the multi-directional visual strokes juxtaposed by the vertical trees. A double cobalt blue horizon line is used to differentiate the planes. But purposeful carvings are done alongside the trees and shrubbery, outlining the subject matter, distinguishing it from the “all over” painterly applications.

Part businessman, part artist, Richard Riverin has laid the groundwork for a flourishing artistic career with successful ventures at the ArtExpo, New York and many solo exhibitions in the U.S. and abroad.

© Gabriel Diego Delgado
website: www.jrmooneygalleries.com


"Early Snow" is available for sale at J.R.Mooney Galleries
210.828.8214


Tuesday, January 15, 2013

Bringing Baroque Back


Bringing Baroque Back

-San Antonio, Gabriel Diego Delgado
gabrieldelgadoartstudio@yahoo.com
gabrield@jrmooneygalleries.com

See the Full article in NHOME Magazine

----As with any monumental and cultural emphasis; an overly distinguishing characteristic of a time, era or generation- its core principles make a cycle allotment; a.k.a “What comes around, Goes around”.  Concluding a reintroduction of the signatory look and feel to a newer generation with radical epoch, fads and trends are inevitable.  Every ten to twenty years art, fashion and music dips back into the proverbial historical archives to rejuvenate something distinguished from the past. 

Today, Renaissance and the Baroque aesthetic are influencing many in the art industry- from framing to fashion, to art itself.  The décor of heavily accentuated framing acts as eye candy and jeweled sculpture for the over emphasized art it is framing. Chiaroscuro, gilded molding accents, 24-k gold frames, traditional still life paintings, Catholic Iconology and the like are reemerging as a current trend in all aspects of the Art industry.

One such international artist who has tirelessly continued on, mastered and seemingly progressed with the traditional still-life chiaroscuro effect is Hungarian Painter, Ferenc Tulok.  A Fine Art Craftsman, Tulok has achieved vivid color combinations, over-accentuated light and dark contrasts and radiant glows by perfecting his own discovery of painting on copper plating.

Lavender Lilies/ F. Tulok/ Oil on Copper/ 5" x 7"


“I was always thinking that people need beauty, and I can give some with my paintings… fashion is changing, but there always be a need for the beauty.”  Tulok is quick to explain why he paints in such a signatory and dated style in the 21st century. Conscious of the elevated forefathers of classical painting- their reputation, high society norms, and aristocratic followings, Tulok knows his identity is in synch with such lineage.   Noted, he remarks, “I always wanted to paint everything realistic. The roots of the realistic painting are in the Renaissance and Baroque. The masters of this technique were artisans. They worked for order, on a reasonably price. This way a lot of people could buy paintings to decorate their home. I follow the same way.” Adding, “I always wanted to emphasize the shadows in my painting. I love the vivid colors jumping out from the dark background; that is the reason why I paint so much contrast.   As an internationally collected Fine Art artist, Ferenc Tulok makes a point to remark on today’s society and the needed instant satisfaction, the shortened attention spans and now dubbed (hurry-up I need it now) mentality when discussing the trend in a return to the Classical Renaissance or the elegance of Baroque in the current Art Market- “Nowadays people have no time to be thinking about a painting, they can’t see what is really behind a painting, - {Criticizing contemporary art} But a nicely painted flower, fruit or anything can make some happiness, ever for a few minutes.”

Peach in a Shell/ F. Tulok/ Oil on Copper/ 5" x 7"

Timeless Tribute/ F. Tulok/ Oil on Copper/ 8" x 10"

Similarly, San Antonio based and internationally recognized painter, Steven DaLuz, whose work often relies on the use of oil on copper leaf, composition gold leaf, chemically-induced patinas, and other mixed media on panel, has enjoyed phoenominal success in the past two years with a recent sold-out exhibition at the AnArte Gallery on Broadway. Steven connects his artistic achievements in the current art market to a need for positivity, beauty and a call for for personal connection.

"Descent"; oil, Metal Leaf on Panel; 60" x 48"; Copyright 2011, S. DaLuz

 "I think we live in a time where people are bombarded daily with bad news; wars in the Middle East, global unrest, election battles, economic woes--a steady diet of "doom and gloom". We are riddled with an overload of instant information through the internet, our mobile phones and a plethora of digital devices.”   Steven’s audience, collectors, and appreciators seem to gravitate to his many bodies of work. Steven reflects, “…..I strive to create work that I am personally passionate about...work that I hope will make the viewer pause for a moment and just FEEL something. I hope to connect with a person by focusing on my own expression of aesthetic "beauty". It often reflects upon primal questions about origins, the expressive beauty of the human figure and the sublime. If there is something in the work that connects with a viewer and stirs their spirit in some way, then I have done my job.”

With the sublime, Renaissance, and Baroque qualities trending in the market Steven observations, “I enjoy a bit of Romanticism in my work.” Coining his work "Neo-Luminism", Steven draws from the Renaissance experience with the laborious draftsmanship and technical expertise of Flemish and Romanticism technique. His paintings are “made to be viewed in the light to exploit the reflective properties of the metal. The gold and copper function alternatively as both solid physical form and light. As light passes through the veils of oil, it bounces off the underlying reflective surface, and bounces back with a glow that seems to come from inside the painting.”  This quality or ornate visual epiphanies are a wonderful crowd-pleaser in an over abundant contemporary art society.

"Arise"; oil, Metal Leaf on Panel; 36" x 36"; Copyright 2012, S. DaLuz

Sentinel"; oil, Metal Leaf on Panel; 36" x 36", Copyright 2010, S. DaLuz

 Not only is the visual art realm feeling the reassurance of the Baroque ornate classical Renaissance, but other aspects of the Fine Art industry has seen an overwhelming trend too. Larson-Juhl, a company that specializes in custom framing and custom frame moulding said that two of their biggest sellers nationwide are the more ornate and gilded lines of framing. They remarked that “framing is the eye jewelry for the art”…”or the art for the art, so the more impact it has with the art the better, and the more it draws your attention into the frame to the art the more staying power and  presence it [the art]  has.”


Moulding and Framing Sample available at J.R. Mooney Galleries of Fine Art

As remarked from several personalities of the San Antonio Art Community, many believe with the continuing presence of a long-lived and strong Contemporary Art Market, there is a monumental backlash from conceptual, kitsch and nonacademic work- resulting in a push for a new understanding, reevaluation and redefined Neo-Renaissance and Neo-Baroque genre; one that pushes and evolves the classical understanding of the much revered movement.

Ferenc Tulok’s artwork can be seen at J.R. Mooney Galleries at 8302 Broadway, San Antonio, TX. 78209 ph. 210.828-8214. Steven DeLuz’s artwork can be seen at AnArte Gallery at 7959 Broadway Street #404 San AntonioTX 78200 ph. 210. 826-5674.

©Gabriel Diego Delgado


Friday, January 11, 2013

Robert Mooney Establishes New Endowment in the College of Liberal Arts at Texas State


Robert Mooney Establishes New Endowment in the College of Liberal Arts at Texas State.

Robert L. Mooney of San Antonio, Texas, a Texas State University alumnus and former 
member of the College of Liberal Arts Advisory Board, has established an endowment 
in honor of his parents. The Joe R. and Adelle T. Mooney Excellence in Education 
Endowment will support academic programs in the College of Liberal Arts.

Liberal Arts Dean Michael Hennessy said, “Mr. Mooney’s generous gift is a fitting tribute 
to his parents. The endowment will support student research in the college’s nine 
departments and three centers, enhancing in countless ways the work of our finest students 
and the faculty who support them. We are deeply grateful to Bob for this gift—and for his 
devoted service to the College.”

Robert Mooney is CEO of J. R. Mooney Galleries, founded in 1947 in San Antonio, Texas
The Mooney Galleries have long provided representation and framing for notable Texas
artists and have supplied art for institutions and private collectors around the world.

The portraits, below, of Robert Mooney’s parents J. R. Mooney and Adelle T. Mooney, 
were painted in 1991 by the late Texas Artist Paul Reynolds, who was long associated 
with the Mooney Galleries.


       Joe Mooney



Adelle T. Mooney

Boerne Business Monthly

January edition of 
"Mooney Makes Sense"
-as seen in the Jan. 2013 edition of the Boerne Business Monthly



Visit the Boerne Business Monthly online at:


Thursday, January 10, 2013

Van Gogh Versus Vives-Atsara


Juxtaposed Landscape Masters


Once in a while an unofficial and subjective Art History Reevaluation lesson is required to fully appreciate the fine art generated locally in the San Antonio region. An unusual comparison of international Post-Impressionist, Vincent Van Gogh versus Spanish born, but San Antonio claimed landscape painter, Jose Vives-Atsara side by side.

{A perverse comparison I know but absolutely metaphysical
Mixed with a touch of self-gratification}…

Although both artists were passionately collected in highly esteemed social circles with political and social influences that enabled their careers- one artist was romanticized and made legendary, while the other only gaining international acclaim in the last half century. In a theoretic evaluation of local impressionistic master Jose Vives-Atsara, I am drawn to compare “Summer”, Catalina, Spain, 1976 to the brilliant painting of Van Gogh –“Haystacks of Provence”, 1888.

Both artists were well aware of traditional color theory as well as being reputable and skilled color mix-ologists. Van Gogh maximized the visual impact of color relationships with his signature artistic aesthetic; often reinforced with select pairs of complementary or contrasting colors- orange contrasted with blue and red playing opposite of green. Vives-Atsara on the other hand, used a minimally selective color palette of only 9 colors, mixed to achieve pictorial depth and linguistically artistic color dialogues.

Both artists worked “en plein air”, a preferred method for their need to be present in the landscape; viewing the “subject” in the natural light; in constant battle with the ever changing tonalities of the setting sun.  Both constructed compositions that included architectural elements that formulated classical compositions of foreground, middle ground, and background.  Evidently both were conscious of manmade structures that impede on a divine and god-given landscape; angular imperfections that would add anchoring components to an otherwise textbook layout and linear landscape arrangement.

Vincent van Gogh, Haystacks of Provence, Painting, Oil on Canvas
Arles, France: June, 1888 Kröller-Müller Museum Otterlo, Netherlands, Europe



Although Van Gogh’s haystacks read left to right in a seemly flat space, it appears to be slightly angled upward, maybe inferring a misconstrued one-point perspective; while Vives-Atsara’s haystacks read right to left; bouncing around in an expansive foreground.  His placements lead our eye to a center focal point, and then ease us past the washed-out and nondescript villas of Catalina, to the tree line boundary, and finally resting back on the final left bundle of hay.

The chiaroscuro properties of the darker shadows and bright highlights in the Vives-Atsara painting are bold and effective; while Van Gogh executes a radiant yellow/orange glow with only a hint of direct illumination by way of a bottom-heavy outlines of the harvest.

Subtle details are carefully considered by both artists. Van Gogh with his green window arches, a color used in earnest to add lush greenery and vegetation to the golden excessiveness; while Vives-Atsara’s windows hold true to a darkened portal void of any voyeuristic enticements. This shadowy mix is the same tone used to add a visual vigor to the tree lined mid-ground of his landscape.


Jose Vives-Atsara, “Summer”, Catalina, Spain, Painting, Oil on Canvas
Catalina, Spain: 1976, J.R. Mooney Galleries of Fine Art, San Antonio, Texas, U.S.A


Application of paint was a concern for both artists as well. Dealing with changing light, tonality shifts and constant alterations of illumination, each artist worked in haste to capture a specific moment of time. Posthumous, each artist’s signature style is well regarded, appreciated, and valued due to the personal application of paint and color to the surface. Van Gogh’s thick expressive palette knife administration is often copied and replicated, a technique taught in many schools.  While Vives-Atsara, an honorary “Artist in Residence” and former instructor at the University of Incarnate Word, had a whimsical style reminiscent of an exploding star, peaking like cactus needles, and personalized with an energetic swipe and expressive jut of color.  Both painters shared pictorial elements that increased the market value of the work, along with the subject matter and desired dates of execution.

In essence, by comparing these two historically different, but conceptual similar artists (Vincent Van Gogh and Jose Vives-Atsara), I wish to unveil the seemingly obvious reason why it would be beneficial to do such an unconventional and perhaps maybe even a blasphemous comparison exercise.  By providing a small piece of knowledge for an expanded art appreciation to any audience, I want to allow the viewer a greater understanding of art from a historical backdrop; Art History baggage if you will that contemporary artists are bringing with them as they write the next chapter of Art History.

© Written by Gabriel Diego Delgado

Art Consultant
J.R. Mooney Galleries of Fine Art
gabrieldelgadoartstudio@yahoo.com


Wednesday, January 9, 2013

Rainy Day in San Antonio

The rain yesterday and today (Jan. 8-9, 2013) inspired a new arraignment.

...To celebrate the rainy week in San Antonio, J.R. Mooney Galleries has curated a spotlight hanging of artwork in the current inventory to display a seascape and water theme. This spotlight wall has been used in the previous year as a monthly revolving exhibition space of a specific genre or themed hanging.



Water/ H2O



















Selections include: