Hopper Drawing goes far beyond simply displaying finished artwork—this exhibition depicts the progression of Hopper’s creative process from start to finish.  Over the course of seven sections, visitors will be able to see how individual studies of figures and architecture evolved into oil paintings that are today considered some of the greatest examples of American Modernism. The extent of Hopper’s preparatory efforts is epitomized in the fifty-two studies he made for the 1930 oil painting New York Movie, which is on loan to the exhibition from the Museum of Modern Art. The time that it will take show-goers to traverse through these drawings is significantly less than the two months that Hopper spent creating them, but the build-up to the final piece has a staggering effect that makes even the smallest of details appear as vital compositional elements.

By pairing the drawings with their completed oil painting, the exhibition exposes Hopper’s innate ability as a draftsman. His early training began at the turn of the century when he studied at the New York School of Art.  Hopper’s tendency to glean inspiration from his immediate surroundings is a clearly a creative tactic he learned while taking drawing classes alongside the American realist Robert Henri, who went on to become the father of the Ashcan school.  Hopper Drawing features many of Hopper’s significant New York scenes that have been at the center of a decades-long art historical investigation attempting to determine their exact locations.  For the first time, Early Sunday Morning will be displayed alongside research that reveals the exact building on Seventh Avenue that served as Hopper’s inspiration for this work, and historic photographs of Greenwich Village verify that Nighthawks was indeed based on the downtown location.  The majority of the preparatory works on paper seen in Hopper Drawing come from the Whitney’s permanent collection of over 2,500 works by the artist, in addition to paintings loaned from other institutions.  Be sure to get your Hopper-fix with a visit to this exhibition before it ends on October 6, 2013!

Edward Hopper, “Self-Portrait and Hand Studies,” c. 1900. Pen and ink and graphite pencil on paper, 7 7/8 × 4 15/16 in. (20 × 12.5 cm). Whitney Museum of American Art, New York; Josephine N. Hopper Bequest 70.1559.28

Edward Hopper, “Study for Nighthawks,” 1941 or 1942. Fabricated chalk and charcoal on paper; 11 1/8 x 15 inches. Whitney Museum of American Art, New York; purchase and gift of Josephine N. Hopper by exchange 2011.65.

American art week begins on Monday and the three major auction houses will offer 299 19th- and 20th-century paintings.
On any given day, Questroyal Fine Art offers over 400.
At auction, the successful bidder must pay a recently-increased buyers premium of up to 25%; combined buyer and seller fees may exceed 30%.
At Questroyal, you will not pay any additional fees and shipping is included.
At auction, you may discuss the painting with an auction representative.
At Questroyal, you discuss the painting with the owner.
If you visit New York during sales week and do not visit Questroyal, you will never know what you missed.
WE OWN THE PAINTINGS WE SELL. NOTHING IS A BETTER INDICATOR OF OUR CONVICTION.

Guy Pène du Bois, “The Lady Witness,” oil on canvas, 18¼ x 24⅛ inches. Signed lower right: Guy Pène du Bois. Currently available at Questroyal Fine Art.

John Marin, “Lake Champlain No. 2,” 1931, watercolor and pencil on paper,16½ x 19 15/16 inches. Signed and dated lower right: Marin 31.  Currently available at Questroyal Fine Art.

James M. Hart, “Twilight with Deer at Lake’s Edge,” 1872, oil on canvas, 16 1/16 x 26⅛ inches. Signed and dated lower right: James M. Hart / 1872. Currently available at Questroyal Fine Art.

George Bellows, “The Front Yard,” 1920, oil on canvas, 16⅝ x 24⅛ inches. Signed lower right: G. Bellows; titled on verso: THE FRONT YARD. Currently available at Questroyal Fine Art.

Childe Hassam, “Looking over Frenchman’s Bay at Green Mountain,” 1896, oil on canvas, 26 5/16 x 35 7/8 inches. Signed and dated lower right: Childe Hassam 1896. Currently available at Questroyal Fine Art.

Visions of Land and Sea will present over sixty works by the artist that have been chosen from the permanent collection of the National Academy Museum and loaned from private collections. This exhibition of important works is particularly special for us not only because Richards is one of our featured artists, but also because Questroyal’s Lou Salerno has loaned a piece from his personal collection to the show, a landscape entitled Keene Valley, Adirondacks. Look for this stunning scene among the selection of oils, watercolors, and works on paper on view which demonstrate Richards’s masterful craft.  Originally from Philadelphia, Richards began studying landscape painting with Paul Weber and came to appreciate the works of Hudson River School artists Thomas Cole and Frederic Edwin Church. Richards’s early landscapes incorporate aspects of both Cole’s and Church’s approaches to landscape painting, while they also bear a subtle influence from the luminist movement, seen in the glowing sunset of works such as Coastal Scene.  Richards’s combined interest in watercolors and coastal subjects emerged during the 1870s and his ability to capture the effects of light and produce atmospheric scenes earned the artist regular invitations to exhibit at the Society of American Water Colors.  William Trost Richards: Visions of Land and Sea will run through September 8, 2013 at the National Academy Museum, which gives native New Yorkers and summer visitors alike ample opportunity to visit this exhibition.  The brevity of works on display in Visions of Land and Sea exemplify Richards’ dexterity in painting both the ocean and the American landscape. The majority of the pieces on view will be making their exhibition debut, making this show a must-see!

William Trost Richards (1833-1905), “Coastal Scene,” 1862, oil on cardboard, 8 1/16 x 12 1/8 inches. National Academy Museum, New York, Bequest of James A. Suydam, 1865.

William Trost Richards (1833-1905), “Marine with Yachts,” c. 1870, watercolor and gouache on green-grey wove paper, 8 13/16 x 13 7/8 inches. Bequest of Mrs. William T. Brewster, daughter of the artist, 1954.

April 29th marked the inaugural meeting of the Seward Legacy Preservation, an organization formed by Auburn citizens and William H. Seward descendants with the mission of returning the Cole painting to its original location. About 150 people were in attendance, including Seward’s great-great grandson, Rev. Ray Messenger, who filed with the Cayuga County Surrogate’s Court to be named an administrator of the estate with the hopes of gaining the power to block the sale.  The story continued to make headlines after it was broadcast by NPR on May 6th and the second meeting of the preservation took place on Monday and drew approximately 60 people. One member, Sharon Dec, was quoted as stating, “No other item could be more emblematic of the Seward government than this painting.” On May 16th, in honor of Seward’s 212th birthday anniversary, the Seward Legacy Preservation will hold a fundraising event and the proceeds will help to pay legal fees.

Tuesday, Messenger argued his case in court, and Judge Thomas Leone ruled that he would in fact become an administrator of the Seward estate. The foundation and museum released the following joint statement: “While we can appreciate the court’s interest in allowing other parties to be heard, we do not believe there is any legal basis for the court’s ruling. Emerson Foundation and Seward House Museum remain committed to finding a path forward that provides for both the appropriate protection of the Cole painting and the future viability of the museum. Unfortunately, as we have previously stated, the efforts of those opposed to the sale of the Cole painting may result in unintended consequences that ultimately harm the future viability of Seward House Museum.” Messenger’s attorney stated that they would now file a lawsuit seeking a permanent injunction against the sale of the painting.

This issue is far from over. While the sale of the painting will at least be delayed by forthcoming court proceedings, the final outcome is still unknown, as is the location of the painting in question which remains out of the view of the public and in a “secure location.” It’s incredible how much drama has come out of Auburn as of late. I can’t help but feel good knowing that regardless of the future home or owner of Portage Falls on the Genesee, a Hudson River School painting over 150 years old by one of America’s most legendary artists has brought a community together. No matter which side of the issue you fall on, you can’t deny that this case certainly says something about the power of art.

Thomas Cole, “Portage Falls on the Genesee,” 1839; Collection Seward House Museum, Auburn, New York

The story of Odysseus and his homeward journey has all the key elements of a heroic tale: danger, romance, war, temptation, trickery, death, humanity, and happiness.  Bearden was initially able to identify with Homer’s hero and his quest as a result of his own childhood; he and his family became characters in the true-life story of the Great Migration of African Americans that transpired during the twentieth century.  Originally from Charlotte, North Carolina, young Bearden and his family moved to Harlemin search of a better life, and images of travelers consequently became a characteristic subject that he later favored throughout his artistic career.  The Black Odyssey merges Bearden’s personal life journey as an African American with the plot and characters of The Odyssey, emphasizing how the universal themes in the story remain applicable and relevant to issues facing contemporary society.  The Fall of Troy,  Home to Ithaca, The Land of the Lotus Eaters, The Sirens’ Song, The Bow of Odysseus, and The Return of Odysseus are just a few of the passages from The Odyssey that Bearden chose to portray, but he infused these scenes with a decidedly personal and social context by depicting the characters as African American.

As a modernist artist, Bearden is best known for his colorful and textured collages exploring African American cultural themes, and the forty-five original works featured in The Black Odyssey exemplify his artistic approach.  This is an exhibition with many layers to it—Curator  Robert G. O’Meally, Zora Neale Hurston Professor of English and Comparative Literature at Columbia University has successfully organized this show to allow audiences to bear witness to Bearden’s re-interpretation of Homer’s classic.  The Odyssey focuses on the ubiquitous and experiential journey that all humans take part in over the course of their life.  Similarly, The Black Odyssey explores Bearden’s personal journey as a black artist and as an African American, then delves even deeper to examine the powerful human drive to find a place that can truly be called home. Be sure to mark a day in your calendars to visit to see Romare Bearden: The Black Odyssey, a traveling exhibition that will be at the Amon Carter Museum of American Art from May 11 through August 11, 2013.  This rare collection of collages and watercolors created by American modernist Romare Bearden is a sight—and story—you won’t want to miss!

Romare Bearden, “Poseidon, The Sea God-Enemy of Odysseus,” 1977. Collage of various papers with foil, paint, ink, and graphite on fiberboard. The Thompson Collection, Indianapolis, Indiana.

Romare Bearden, “Home to Ithaca,” 1977. Collage of various papers with foil, paint, and graphite on fiberboard. Mount Holyoke College Art Museum, South Hadley, Massachusetts. Gift of the estate of Eileen Paradis Barber (Class of 1929).

Oscar Bluemner’s America: Picturing Paterson, New Jersey features twenty-nine pieces by the artist that are on loan from the Vera Bluemner Kouba Collection at Stetson University.  All of the works on view represent the work Bluemner produced from 1910 to 1917, and were inspired by the town of Paterson, a thriving, industrial New Jersey community known as “the Bethlehem of capitalism, ground zero of modern America.” Bluemner’s portrayal of Paterson combined brilliant colors with an approach that fuses realism and cubism, seen in works such as Paterson Factories (View from Monument Rock) and Paterson Mills.  Bluemner’s presence in Paterson coincided with the Silk Strike of 1913, a clash between silk manufacturers and employees arguing for better wages.  Although a failure, the Paterson Silk Strike was one of the largest union movements in the history of American labor and Picturing Paterson, New Jersey is a vibrant celebration of its centennial anniversary.  Oscar Bluemner’s America: Picturing Paterson, New Jersey offers audiences a colorful glimpse into American history and will be on view at the Montclair Art Museum through June 16, 2013. Be sure to check it out!

Oscar Bluemner (1867-1938), “Paterson Factories (View from Monument Rock),” 1913. Watercolor and gouache on paper. Vera Bluemner Kouba Collection, Stetson University, DeLand, Florida.

Oscar Bluemner (1867-1938), “Paterson Mills,” ca. 1911. Colored pencil and ink on paper. Vera Bluemner Kouba Collection, Stetson University, DeLand, Florida.

The Vero Beach Museum of Art has a 900-piece collection consisting primarily of 20^th- and 21^st-century American and international art; this year, the Athena Society was on the hunt for a top-quality representational piece by an American artist.  After the votes were cast, the Kroll was declared the winner—The Sonata depicts four figures situated around a piano and is an exemplary demonstration of the artist’s stylistic approach.  Are you also a fan of Leon Kroll? Questroyal Fine Art just published his biography on our website—be sure to read all about the artist here!

Leon Kroll’s “The Sonata” was selected by the Athena Society to be added to the Vero Beach Museum of Art’s permanent collection. Leon Kroll, “After the Concert (The Sonata),” 1922, oil on canvas, 46 1/4 x 52 1/8 inches.

This “back-story” to art forms the backbone of this exhibition: This collection of thirty N. C. Wyeth paintings allows audiences to see the dual  nature of an artwork by revealing the painting’s narrative, in addition to providing the rationale behind why Wyeth incorporated certain aspects into these pieces.   Wyeth created Eseldorf was a paradise for us boys [sic] as an illustration to coincide with the frontispiece of Mark Twain’s The Mysterious Stranger, Part I that was published in Harper’s Monthly Magazine. Twain spins a tale of three boys who encounter a satanic figure who teaches them some of life’s difficult lessons and Wyeth’s painting depicts the trio armed on the icy banks of a river with a castle looming in the distance.  The back-story, however, reveals how Wyeth grew up listening to his aunt telling stories of German legend and folklore, and that the bow held by a central figure was reminiscent of his uncle’s homemade weapons.

It is fascinating to see how Wyeth successfully incorporated aspects of original stories into his illustrations while simultaneously integrating personal influences and considerations related to their reproduction.  Visitors will be able to compare the paintings with the original reproductions, which are sourced from the permanent collection of the Farnsworth Museum of Art.  On view through December 29, 2013, Every Picture Tells a Story: Illustrations by N.C. Wyeth from the Collection of the Brandywine River Museum is a double-feature exhibition you won’t want to miss!

A very special thanks is given to Christine Podmaniczky, Associate Curator for the N.C. Wyeth collection at the Brandywine River Museum, and the helpful staff at the Farnswoth Art Museum for providing supporting text and images.

N. C. Wyeth, “Eseldorf was a paradise for us boys,” illustration for Mark Twain’s “The Mysterious Stranger,” oil on canvas, 40 x 33 1/8 inches. Collection of the Brandywine River Museum.

N. C. Wyeth, “The Twentieth Century and the First: The Dramatic Contrast of an English Tank in the Streets of Jerusalem,” oil on canvas, 38 5/16 in x 31 1/4 inches. Collection of the Brandywine River Museum.