Gallery Picks of the Month, JR Mooney Galleries of Fine Art

Recap and Closing of our "Gallery Picks" curated hanging for the July Second Saturday View this email in your browser Gail Sherman Corbett was a well-known sculptor, painter, and medalist who flourished as an artist in New York during the early decades of the 20th century.  Gail Sherman was born in Syracuse, New York, in 1872, and attended the local high school and later the Anne Brown School in New York City.  Sherman began her formal artistic training at the Art Students League in New York City, where she studied with the famous sculptor Augustus Saint-Gaudens, and the painters Henry Siddons Mowbray, a celebrated muralist, and George deForest Brush, a painter of colorful genre scenes.  Later, she traveled to Paris and enrolled in the École des Beaux-arts from 1898-99.  During her sojourn in Paris, Sherman was exposed to the work of the Impressionists, from whom she incorporated a looser brushwork, lighter palette, and interest in contemporary urban scenes.  The present work Avenue Parisienne was most likely painted during the artist's time in Paris.  The contemporary subject matter, fluid brushwork, and light-infused palette reflect the influence of the Impressionists on the artist's early painting style.   National Sculpture Society, 1907 Architectural League of New York National Association of Women Artists American Numistic Society Art Institute of Chicago, 1912, 1916 Pennsylvania Academy of the Fine Arts, Annual, 1902-06 (as Sherman), 1913 Panama Pacific International Exposition, 1915 (medal) National Association of Women Artists, 1935 (medal) National Sculpture Society, 1923 Who Was Who in American Art, 1564-1975, Sound View Press E. Bénézit Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs, Editions Gründ Jose Vives-Atsara used the palate knife with mastery and confidence to reveal dark blue clouds, threatening sky, and a windy day that rousts about the vegetation and bank of sandy soil. The title of this painting is Wind and Vives-Atsara illustrated the grasses in extended length and overlapped colors and strokes to communicate the windy movement. The strokes are intentional and bold as he used his preferred limited signature of nine colors. The vertical and horizontal lines compete and skillfully design the effect of the unseen wind.  This is not a sunny windy day, rather, a dark ominous day; even the cloud formation signifies weather change and possibly more wind with even stronger force. The painting is respectful of nature and the beauty before and during times of wind.  ©Betty Houston Antonius "Toon" Koster, a renowned Dutch artist, was born in Schiedam, (South Holland) Netherlands in 1913. He went to the Art Academy in Rotterdam, Netherlands and became a painter, printmaker, industrial artist, enamellist and muralist.  During most of his artistic career he lived and worked in Nieuwkoop near the Nieuwkoopse Plassen. Koster was a member of the Dutch Federation of Visual Artists, and died November 25, 1989 in Woerden, Netherlands.  Koster often used dark earthy colors and painted in broad coarse brush strokes, creating depressive and gloomy atmospheres; making for subtle impressionistic qualities.  When asked to which movement he belonged or which subjects he preferred, he answered: “There is no movement… and everything repeats itself.” “Night City”, is a signature city-scape by Koster that exemplifies all that he was known for: boats, cities, gloom, illuminating sun/moon behind clouds, and his pictorial post WWII depressive metropolis.  A one point perspective only exacerbates the depressive complexity of the work with the angling of the drab buildings that line the boulevards, structures as borders for the blackened water in the industrial canal, a waterline that is cut midway down the composition with the three arched bridge.   We are boxed in on three sides with the horizon line blocking an eternal view.  However, our release from the melancholy is up into the sky, but wait – impending catastrophes await us in the heavy snow laden billows that weigh down on us with only a glimmer of light; a false hope. Friedrich Nietzsche once said “Hope in reality is the worst of all evils because it prolongs the torments of man.” ‘Tis true when dealing with Anthonius Henricus “Toon” Koster. © Gabriel Diego Delgado   Eric Paulsen captures the light of day with fresh color and bold strokes of the palette knife.   Bridge in Town is a study in contrasts. He comments on the simple village and the common bridge ; the curved waterway, straight angles of roof tops and windows are central to the composition.  Neutral tones are the axis of the painting; yet harmonious with plantings, water and sky.  Warm tones of yellow and orange are sparingly used in contrast to the range of blues in water and sky. The vegetation is mostly small abundant strokes with the pallet knife and the most contrasting in depth as compared with other surfaces. The most placid and quiet texture in the painting is that of the water with its mirror like image of shadows. Although there are three persons on the bridge, one appears to be fishing and the others are standing obliviously and quietly. It is this sum of contrasts that make Bridge in Town a gallery favorite.  ©Betty Houston ..."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." © Gabriel Diego Delgado Sidney Sinclair is a resident of the Texas Hill country and knows and loves its beauty.  In her painting titled Hill Country Creek the simplicity of nature is painted using subtle soft tones and neighboring hues. The lines and edges mingle and invite a visual tour across the canvas.  Soft light of day conveys a single quiet moment honoring the landscape in its raw strength and beauty. The application of paint is respectfully layered without additional flourish; thereby,  achieving an ode to nature that is not intended to be anything more or less than already provided by nature. ©Betty Houston The majestic skylines of Texas radiate an unexplainable beauty – the kind that harkens to the tributary songs of stars at night and the like in all its nostalgic inspirations.  Whether you’re experiencing the charming and subtle horizons of Corpus Christi, the flat plains of Lubbock and Plainview or the rugged mountains of Big Bend to the rolling Hill Country there is something unmistakable in its atmospheric awesomeness; with its sunrises and sunsets, its vast openness, or its terrifying and turbulent storms. Russell Stephenson, a Texas painter, in an unrelenting approach has mastered the gorgeous godliness of our great state in his Panoramic Texas series paintings. Radiant browns and various tones of burnt sienna seem to meddle perfectly with contrasting cool slate grays, snowy silvers and wispy whites.  Atmospheric amalgamations of colors are ever approachable, digestible and delicate in their ephemeral and abstracted beauty. In “Mesa”, Stephenson delivers a medium size rectangle painting, one that is anchored by a distinguishable plateau that is concisely centered, mingled and engulfed by feathered heavens that glow with an inner radiance; something that can only achieved by some cosmic enlightenment.  The top half of the painting is accented with marks or controlled chaos of the artist’s hand touches the panel in a series of deliberate gestures through pressure, contemplation and automatic subconscious responses. © Gabriel Diego Delgado

William Henry Margetson studied at the South Kensington Schools and at the Royal Academy, where he exhibited from 1885. Known more as an illustrator for literary classics like The Tiger of Mysore, Trefoil, The Spider's Eye, A March on London, Red Morn, The Lights of Sydney, and Straits of Time by Christopher Hare; Margetson executed a series of small paintings he titled “In the Straits of Time”- a collective of watercolor/gauche paintings and prints that were based on a play of the book by Hare.  Usually upbeat and full of whimsical muse, Margetson’s female figures border on illustrious Art Deco beauties, however with “In the Straits of Time”, he  forces us to ponder the lives of the misfortunate. Recounting tails of death, famine, misery and the Black Plague, Margetson provides a monotone palette of black and white melancholic images that evoke a sense of dire straits.  Of the 5 works available, one can be singled out as a masterfully denoted summarization of such a series. The singular painting depicts the scene in the book/play where four completely different types of people inhabit the same room; each wholly concerned about the deteriorating health of a little girl.  Grimly silhouetted in the background, a Catholic Nun and a Victorian Englishman lurk off to the left hand side. Concealed in shadows, they come to represent so much more than mere mortal aspirations.  Metaphorically, the older man’s grimace and fragility mocks the innocence and jubilation of the adolescent little girl, while the Nun ponders an existential afterlife bound by the glory of faith, accepting of her inevitable fate and infantile demise. Stark contrasts can be drawn between the two characters [caregiver and child]. Head wrap, shawl, bedding, and nightgown give sterile misconstrued assumptions of purity. Engulfed  in a tender embrace, the motherly figures have eyes that are shut with tenderness; a sentimentality one can only give with sincere compassion; while the dazed and widen eyes of the child turn a gaze to the unknown, with an apprehension of a beckoning light drawing ever closer. © Gabriel Diego Delgado

Contemporary Still life with Tulok

..."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 jump started 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."

© Gabriel Diego Delgado, Boerne Gallery

"Wind" by Jose Vives-Atsara

Jose Vives-Atsara used the palate knife with mastery and confidence to reveal dark blue clouds, threatening sky, and a windy day that rousts about the vegetation and bank of sandy soil.

The title of this painting is "Wind"  and Vives-Atsara illustrated the grasses in extended length and overlapped colors and strokes to communicate the windy movement.

The strokes are intentional and bold as he used his preferred limited signature of nine colors. The vertical and horizontal lines compete and skillfully design the effect of the unseen wind.  This is not a sunny windy day, rather, a dark ominous day; even the cloud formation signifies weather change and possibly more wind with even stronger force.

The painting is respectful of nature and the beauty before and during times of wind.


©Betty Houston,  Boerne Gallery

"Lane of Venice" by Song Jiang

"Lane of Venice" by Song Jiang is a visual tour of discovery in texture, color, and architecture. Jiang has pushed the perspective back to reveal a walkway centered on the canvas and its destination.  Neutral tones purposefully chosen announce the view with colorful progression culminating in the building at the end of the view.

Green and terra cotta announce the coming attraction as the discovery yields its way from the shadowy lane toward the sunlit destination. Song Jiang continues to appreciate the time of day and the subdued contrast of the buildings with the refreshing white building of central importance.

The sky and wispy cloud are the beckoning surprise at the end of the Lane of Venice.


©Betty Houston, Boerne Gallery

"Bridge in Town" by Eric Paulsen

Eric Paulsen captures the light of day with fresh color and bold strokes of the palette knife.   "Bridge in Town" is a study in contrasts. He comments on the simple village and the common bridge ; the curved waterway, straight angles of roof tops and windows are central to the composition.  Neutral tones are the axis of the painting; yet harmonious with plantings, water and sky.

Warm tones of yellow and orange are sparingly used in contrast to the range of blues in water and sky.  The vegetation is mostly small abundant strokes with the pallet knife and the most contrasting in depth as compared with other surfaces.

The most placid and quiet texture in the painting is that of the water with its mirror like image of shadows. Although there are three persons on the bridge, one appears to be fishing and the others are standing obliviously and quietly. It is this sum of contrasts that make Bridge in Town a gallery favorite.


©Betty Houston Boerne Gallery

Can be purchased at:
http://www.jrmooneygalleries.com

Too Close for Comfort by Bill Scheidt

Bill Scheidt composes a landscape entitled "Too Close for Comfort" using the relationship between the plains buffalo and a contentious adversary, the coyote.  The deft composition is at once active; as the smaller of the two attempts to harm and ultimately kill the buffalo.

The very believable composition uses historic colors reminiscent of earlier artists that traveled the west to explore its habitat and terrain.   The muted grasslands and the distant horizon complete with a herd of buffalo grazing in the lowland and near the mountains are secondary, yet supportive to the story and its environment.

©Betty Houston, Boerne Gallery

Ghost Ranch Glow

Cliff Cavin’s painting entitled "Ghost Ranch Glow"  is composed of cool hues and deep saturated tones.  The painting is layer upon layer of shadowy plains beginning with lofty greenery and numerous dynamic horizontal plateaus.

The mostly horizontal landscape is punctuated by vertical rock formations catching the light of day.   The sophisticated area tends to be arid, consequently the choice and harmony of color is somewhat greyed, but, refreshing and inviting.  

The sky is secondary but contributes to the glow and contrast between light and dark elements making this painting memorable.

©Betty Houston, Boerne Gallery

Hill Country Creek by Sidney Sinclair

Sidney Sinclair is a resident of the Texas Hill country and knows and loves its beauty. In her painting titled Hill Country Creek the simplicity of nature is painted using subtle soft tones and neighboring hues.

The lines and edges mingle and invite a visual tour across the canvas. Soft light of day conveys a single quiet moment honoring the landscape in its raw strength and beauty.

The application of paint is respectfully layered without additional flourish; thereby, achieving an ode to nature that is not intended to be anything more or less than already provided by nature.

©Betty Houston, Boerne — with Sidney Sinclair.

Mooney Makes Sense July 2014 column in Boerne Business Monthly

Read the full edition of Boerne Business Monthly at: 

http://issuu.com/boernemag/docs/july_2014_bbm

When local attractions, homesteads, acreage and recognizable landscapes make it into the fine art realm, we always appreciate our community even more.  The history of Herff Ranch is no different.  A genealogic lineage that adds a colorful history to the Boerne legacy, Herff is forever immortalized in the work of local artist, Larry Tarrillion. Ferdinand Ludwig Herff (1820–1912) was a 19th Century German-born physician who immigrated to Texas and became a medical pioneer in San Antonio. Being a personal physician to Richard King of the Kind Ranch, as well as providing medical care to many indigenous (Mexican/ Native Americans) in the San Antonio area, helped secure the prominent stature of one such family in the Boerne area. 

Larry Tarrillion has recorded a portion of Boerne history by painting an architectural site located on the Herff Ranch and a snow storm that showered the Texas hill country in the early part of 1982.  Appropriately titled, Snow on the Herff, a stone farm house is nestled among its acreage of trees, complimented by an old windmill and the necessity of an old water tank.

Tarrillion’s color is of soft neutrals with patches of blue sky warming the day as the snow begins to melt on the ground.  There are no footprints on the lofty snow drifts which offer a sense of insulation, solitude and quietness on a day when the sun’s rays have broken through the atmosphere. However, there is evidence of occupancy as noted by the smoke emitting from the chimney.

The brush strokes are thin small and deliberate capturing the stillness and beauty after the storm.

The central feature of the painting is the two story house and its prominent strength of hill country design which includes a windmill and tank to supply water to the family.  There is quiet strength, beauty and harmony as the joy of nature has passed through the Texas Hill country.  The home is guarded by a fence line so very typical of the farm and ranch land of our area.  

The full lot of Herff Ranch is now part of the ever expanding housing development of the Boerne area that has prompted many debates, (pro and con) on the eminent urban sprawl of the San Antonio encroachment.

The house pictured in Snow on the Herff is currently in restorations and is part of the Cibolo Nature Center.

By: Betty Houston and Gabriel Delgado

* This painting has been sold**

Payday by Ragan Gennusa

Ragan Gennusa paints a glimpse of times gone by.  It is a dry dusty day; however, optimism reigns because success is at hand.  It’s Pay Day!  The two entrepreneurs carry on as the work is not finished.  Of secondary interest are the sky and grey mountains in this composition. 

Even the vegetation is grey green and covered with dusty excitement.  It’s Pay Day!  The main source of color is low contrast neutrals complete with shadows and rocky terrain.  The neutral colors are enhanced by simple cloudless sky that repeats the beauty of the arid land. Overcoming challenge and the spirit of bravery will not be denied.  It’s Pay DAY!

©Betty Houston

**See the giclee prints available for sale at the J.R. Mooney Galleries Boerne as part of the Gallery Picks exhibit for the month of July.

Call us at 830-816-5106 to inquire about pricing.

July 2014 Quarterly Newsletter

HERE COMES THE SUN! View this email in your browser   When looking at the artwork of Samir Sammoun, it’s apparent that he is not trying to create a realistic piece depicting what the eye can see.  Through his use of color and the energy in his brushstrokes, Sammoun opens his soul and bares the raw emotion that he associates with the view.  This is further evidenced through his choice of subject matter.  Time and again, Sammoun takes us back to places that are dear to him; the grove of olive trees in Joun, Lebanon where his family owns a 1,000 year old olive plantation, lavender fields in Bekaa Valley or the lush landscapes around Quebec where he has resided since the age of twenty-one, just to name a few. There is an ethereal quality to his work that isn’t unintentional.  He says, “I try to show the texture of nature on the canvases and I place color side by side without blending it.  I want to make the person looking at my painting feel the color of the sky, the temperature of the air and the breeze in the apple trees or wheat stalks.” If imitation is the sincerest form of flattery, then Samir Sammoun truly appreciates proponents of the Impressionistic Art Movement. However, he has brought this genre into the 21st century.  There is nothing old-fashioned or dated about his paintings.  Sammoun’s work transcends the boundaries of any particular style and is typically the pièce de résistance of any collection.  Whether your home is eclectic, stately, elegant or contemporary, an original oil painting by Samir Sammoun is the perfect choice. We have recently received brand new pieces hand selected by Mr. Sammoun.  Come see a few of the artist’s personal favorites as we showcase them at J. R. Mooney this summer. © Valarie McCown It is an exciting time at J. R. Mooney Galleries.  We are bringing in new pieces of art and introducing new artists to San Antonio.  We have also added inventory to our already extensive supply of ready made frames.  We replenished stock on some of our best selling favorites in standard sizes, but have expanded our inventory to include sizes not typically considered to be standard dimensions.  For those of you that are unaware, there are many ways to stay in touch with us and we love hearing from you! Website:  www.jrmooneygalleries.com E-Newsletter: sign up at JRMooneyGalleryNewsletter Blog:  www.jrmooneygalleries.blogspot.com Facebook: JRMooneyFaceBook Twitter:  JRMooneyTwitter The best way you can show your thanks is to check in, sign up, friend us, and follow us on twitter! UPCOMING SAN ANTONIO & AREA ART EVENTS! JUL 1 - AUG 10 American Plains Signature Member Show - Ft. Concho Natural Historic Landmark with Opening Reception July 1st from 5 pm to 8 pm featuring JRM Artist, Bill Scheidt - San Angelo - American Plains Artists   JUL 12 2nd Saturday Art & Wine - Gallery Picks of the Month- Boerne - 2nd Saturday Boerne, TX   AUG 9 2nd Saturday Art & Wine -  Selections from the Gallery - Boerne - 2nd Saturday Boerne, TX   AUG  22 - SEP 27 A Panoramic View - Texas Sculpture Group Lawndale Art Center Exhibition - Opening Reception (Aug 22 from 6:30 pm to 8:30 pm) - Featuring JRM Sculptor, Cody Vance - Houston -Panoramic View                   SEP 13 2nd Saturday Art & Wine - Featuring artists, Willi Bauer and Gerhard Nesvadba - Boerne - 2nd Saturday Boerne, TX   OCT 11 2nd Saturday Art & Wine -  Featuring renowned photo-realism artist, Thomas Arvid  - Boerne - 2nd Saturday Boerne, TX     Facebook Twitter Website