It’s always a thrill to receive a new painting from Tim Thompson, the renowned marine artist whose historic scenes are unparalleled for their accuracy, drama and atmospheric quality. The latest out of Thompson’s studio is entitled “Glorious First of June, 1794” and is a tour-de-force.
The painting is a depiction of the first and largest fleet action of the naval conflict between the Kingdom of Great Britain and the First French Republic during the French Revolutionary Wars. The British Channel Fleet under Admiral Lord Howe attempted to prevent the passage of a vital French grain convoy from the United States, which was protected by the French Atlantic Fleet, commanded by Rear-Admiral Villaret-Joyeuse. The two forces clashed in the Atlantic Ocean, some 400 nautical miles (741 km) west of the French island of Ushant on June 1, 1794.
The action was the culmination of a campaign that had criss-crossed the Bay of Biscay. During the battle, Howe’s ships inflicted a severe tactical defeat on the French fleet. However, and despite losing seven of his ships of the line, Villaret had bought enough time for the French grain convoy to reach safety unimpeded by Howe’s fleet, getting through to the starving people of France and securing a strategic success. Both sides ultimately claimed victory, and the outcome of the battle was seized upon by the press of both nations as a demonstration of the prowess and bravery of their respective navies.
Featured ships: Le Venguer, sinking at the right; Le Entreprenante, further to leeward; HM Cutter Rattler, foreground; HMS Culloden, L’Achille, and HMS Brunswick, centre; HMS Valiant at the left of Rattler; Le Patriote. The British fleet to windward engaged at distance.
The painting illustrates the ships engaged in the height of battle, churning in the white water with their sails full of wind and multiple flags of both nation’s flying proudly as crew fight courageously amidst the smoke and flames. The scene shows the Le Venguer falling away to leeward in a sinking state, and calling for assistance, after her duel with HMS Brunswick.
Rescuers aboard the Culloden, Rattler, and Alfred, seeing the great peril of Venguer’s situation, launched as many of their boats as could swim, and rushed in to save over 400 of the French ship’s crew. The boats of the Alfred took off 213 crew, and those of the Culloden and the cutter (the zeal and activity of whose commander, Lieutenant John Winne, did him great credit) nearly as many more. Consequently, when the ship went down a few minutes after the last boat had pushed off from her, there were no visible remaining crew who would be counted as casualties.
Among the survivors of Vengeur’s crew were Captain Renaudin and his son, a boy of twelve years of age. The two were accidentally taken off by different ships’ boats; and each, until they met again at Portsmouth, imagined the other had perished. The meeting was very affecting to all who witnessed it and of course to the father and son reunited.
David Shevlino is a Delaware-based artist currently making waves on both coasts with his striking narrative paintings featuring figures thoughtfully placed in evocative landscapes. With his signature exuberant brushwork and painterly style, the artist blurs the boundaries between the traditional representation of the figure and the abstraction of it. David’s newly published book of recent work is now available.
Now available! http://davidshevlino.com/reproductions.html
A look inside:
The Price Center cordially invites you join us at the Quidley Gallery for a wine reception in support of our commitment to people with intellectual disabilities. Our reception will show the works of renowned contemporary artist, William Quigley.
Referred to as a “cultural catalyst,” William Quigley has been making a splash on both coasts. His work has been collected by a long list of celebrities and important contemporary art taste-makers since his first exhibition in 1985 (alongside work by Andy Warhol). Because Quigley shows primarily in New York and LA, this latest exhibit represents a unique opportunity for Quidley & Company to present his work to a Boston audience.
Quigley’s creativity and prolific output is closely matched by his generosity–his philanthropy seems to know no bounds. He co-created “Boards for Breast Cancer,” annually supports “Wounded Warriors,” and is hosting an opening this month in partnership with The Price Center, a Boston-based organization that supports teens and adults with developmental disabilities.
Founded in 1977, The Price Center provides community-based services for adults and teens with developmental disabilities. The Center offers a wide range of services while also collaborating with other community resources to help strengthen the impact of our work.
The Price Center supports people with developmental disabilities by encouraging personal growth and participation in the community through social, living and work experiences that foster independence and respect individual preference and diversity. We accomplish our mission through the implementation of day habilitation, residential, vocational, and family support services in the greater Boston area.
FOR IMMEDIATE RELEASE
July 29 – The Face of Love, a romantic drama set for a September 20th release date by IFC Films, stars Annette Bening, Ed Harris, Robin Williams and a surprising costar -30 paintings by Tracey Sylvester Harris (no relation to Ed Harris). Director Arie Posin uses the paintings to illustrate the transformative power of love after devastating loss. When divorced, artist turned art teacher Tom Young (Ed Harris) meets and falls for a widow (Annette Bening) while teaching a class, he again picks up his brushes and begins painting amazing, large format figure paintings, created in real life by California artist Tracey Sylvester Harris.
After receiving the call that her work was chosen for the movie and recovering from the initial shock, T. S. Harris says it made perfect sense to her. “I always pictured my alter ego in the studio as a serious bad ass. Ed Harris is brilliant casting in my mind!” she replied. Tom Denolf, the co-producer whose daunting task it was to find the artwork to match the character of Tom Young (Ed Harris), scoured hundreds of LA galleries in search of work that would meet the script criteria, namely that the paintings be figurative, large, painterly, reminiscent of Eric Fischl and Gerhard Richter, but with a Southern California vibe. The artwork of T.S. Harris fit the bill. Hundreds of galleries, dozens of meetings, and three weeks later, T. S. Harris got the voice mail she still has on her machine, “You’re it! We’re looking forward to working with you!”
In her paintings, T.S. Harris presents a dazzling vision of California that merges the past with the present. In an ironic twist, two recurring themes are her love of water and her love of Hollywood. The series of paintings entitled Lost Holiday are inspired by found, black and white photos from the forties and fifties. The paintings transform long forgotten memories into vibrant light and color. Although bright, the paintings are bittersweet in their depictions of fleeting moments of summer captured almost a lifetime ago. In the Noir series, she experiments with imagery from films made in that same time period. These paintings depict women mostly as torsos, or cropped stills. Suspended in time, they have been captured smoking, waking, sleeping, and sitting in contemplation. With the context of their actions removed, the women become mysterious. Dressed in swimsuits or lingerie, they are alluring not for their bodies, but the secrets they hold. Looking closely at the paintings however, reveals her true theme- how precious and fleeting our moments in the sun are.
One of our artists Karen Woods has been included in the current New American Paintings, a book like publication that finds up and coming painters through a juried exhibition/competition.
NAP is published bimonthly . . .”We sponsor six juried competitions per year. The forty winners of each competition receive a four-page, full-color spread in New American Paintings. Five of the annual competitions focus on geographic regions (Northeast, South, Midwest, West and Pacific Coast), and the sixth is only open to current Masters of Fine Arts candidates who are attending schools based in the United States, and current year graduates.”
Friday December 6th starting at 5PM, Quidley & Company gallery (Nantucket) will host a unique and exciting event in which artists on and associated with Nantucket contribute original works in an 8″ x 10″ format. Nearly 100 original artworks will be exhibited at the reception and available for sale, all at the fixed price of $125. The name of the artist for each work will be kept secret during the exhibition, only to be revealed at the completion of the sale.
100% of the proceeds will go to the Marla Ceely Lamb Fund as administered by Palliative & Supportive Care of Nantucket Foundation.
The Marla Ceely Lamb Fund, a Cancer Patient Transportation Fund for Nantucket, helps to defray the costs of transportation and lodging for patients who must travel off-island for the treatment of cancer.
On a first come, first serve basis, guests receive a numbered ticket based on order of arrival/line then select their art. Additional framing options will be available in the gallery for $25 from Frame Center of Nantucket. We ask that guests agree to purchasing just one artwork each, until everyone in attendance has had the opportunity to acquire a work and donate to this important cause.
a video from 2011 event
Opening November 8, 2013 at the Berkshire Museum is an exhibition featuring the paintings of Janet Rickus and Colin Brant. The show, Radical Traditionalism runs through Two Rickus paintings are on loan from Quidley & Company for this exhibition.
“The Berkshire Museum’s new exhibition, opening Friday, wants to remind visitors that such durable genres (landscape and still life) have plenty to offer if looked at the right way. “Radical Traditionalism” highlights the work of two regional artists who prove that engagement with the past doesn’t mean giving up on the future.
Both Janet Rickus and Colin Brant are deeply informed by past masters but not restrained by them. Rickus paints meticulously crafted images of fruit and vegetables whose simple presentation leaves open many questions and ideas.
Rickus’s work can also be viewed at the Fitchburg Art Museum in the exhibition Still Life Lives! This show incorporates works from the Museum’s permanent collection; Marc Chagall, Henri Fantin-Latour, William Harnett, Walt Kuhn, Georgia O’Keeffe, et al, with still lifes by numerous contemporary New England artists including our very own Janet Rickus, and Scott Prior. This show is on display through January 12, 2014.
Rickus, who lives in Great Barrington, has been working in her signature styles since the early 1980s. She said she gets ideas from everyday life, from the supermarket and farmers markets. In her studio, she arranges her subjects under light from a north-facing window, and she uses photographs to help arrange the individual pumpkins, sweet potatoes, onions or lemons.
She presents the subjects with photographic detail, carefully crafted colors and lines. They are often arranged on linens, and presented about life-sized and at eye level. In such a way, they have a certain dignity. They are free of the heavy allegorical density of, for example, the great Dutch masters of the 17th century, in which an hourglass exists to signal the fleeting nature of time, or a dog appears to symbolize fidelity, and so on.
“I don’t paint objects because of their value,” she said. “I paint them because I like them.”
From such a deceptively simple start, a flood of connections and quick narratives almost automatically emerge. There is a sense of humor or whimsy in the images, which almost demands that you make up a story for them — pears that look like a football huddle, a pumpkin that seems to collapse exhausted on a pillow.