The most wonderful Bearded Pig - By Patricia Traub

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In this email:

-Patricia Traub - Bornean Bearded Pig

- Eric Wert - New Florals

- Sharon Sprung - F I G U R E S

- Steve Mills - New WSJ

- Small Paintings: Robert Jackson

During the art fair invasion that annually occurs this week in New York, we take the opportunity to exhibit highlights and new works from gallery artists.

This is a wonderful time of the year as we get to see many of our clients who pass through the fairs and end up here on 25th street at Gallery Henoch.

We have just received 10 new paintings from various gallery artists. Included is a stunning lifesized pig by Patricia Traub.

Patricia Traub is one of the finest painters of animals practicing in our time. Her most recent paintings attest to this notion. In a recent conversation, I asked her about the use of black in the neutral spaces surrounding her subjects. The conversation led to a listing of artists that have informed the way she paints. Below is a short detail that I thought to share. It is inspiring to represent artists who enliven history through their own practice.

above: Patricia Traub, Bornean Bearded Pig, oil on linen, 48" x 48"

Regarding influences on her work, Traub notes: "We spoke about Albrecht Durer which would be a great comparative for his love of nature and detail. Also I would have to include Jan Van Eyck, especially his painting "The Portrait of a Man", 1433. I learned a great deal about using light and shade in a subtle and dramatic way. Also the way the figure emerges from the background. This painting includes a black background or a neutral ground.

above: Traub, Sicilian Buttercup Hen, 22" x 18"

For the animals, I would have to say the Italian painter, Bassano Bassano_Two Dogs

(Jacopo dal Ponte). The painting "Two Hunting Dogs Tied to a Tree Stump", (pictured to the right) is one of the earliest animal portraits. Before this composition, artists were painting dead animals in still life genre. He truly studied the two dogs and was meticulous with the detail of the canine hair.

My black spaces developed over time. I had been studying a particular painting since the mid '80s. It is a panel from a small diptych showing Saint Francis of Assisi (the patron saint of animals) and a Devotee, st_francis

dated 1285. The painting is attributed to Master of Montelabate. He was active in Umbria, Italy."

This painting (pictured to the right) may be found in the collection of the Philadelphia Museum of Art.

Susan Goldsmith, CHERRY PLUM, Resin Mixed Media, 48" x 28"

Winter Group Show

F e a t u r i n g:

SUSAN GOLDSMITH

Three new pieces are now available including the, CHERRY PLUM, pictured to the left. Recalling an abstracted Art Nouveau stye, this CHERRY PLUM is inspired by a commission she completed for Tiffany & Co.

The elegant black and white tones illuminate notes of gold floral buds that are speckled throughout the composition.

Susan Goldsmith, KAZAN, Resin Mixed Media, 9" x 27" Triptych

Wert, OFFERING, Oil on Panel, 24" x 24"

Winter Group Show

F e a t u r i n g:

E R I C W E R T

Wert's audacious still lifes make a grand display in the Winter Group Show.

Ambrosius Bosschaert the Elder, Flower Still Life, 1614, OIl on 11.25" x 15", collection of the Getty museum

These works call forth the spirit of Ambrosius Bosschaert, an acclaimed Dutch horticultural painter who practiced during the early 1600's. Like Bosschaert, Wert paints

anatomically correct florals and still lifes. Both artists create voluminous bouquets that are portrait-like. However, where Bosschaert worked in small scale, Wert takes on large paintings up to 4 & 5 feet. Wert often upturns his vased arrangements, picturing them splayed across reflective surfaces. It is an element that energizes the composition while also keying us in on an artist who has found a signature look.

Enjoy these till you drop.

Eric Wert, PEONIES, Oil on Linen, 36" x 48"

FROM THE PREVIOUS EMAIL:

S H A R O N S P R U N G

Carefully curated paintings of the female form are the specialty of Sharon Sprung. The raw beauty of her figures evolve out of nuanced color, carefully glazed to reveal the form: the edge of a shoulder blade or a recess in the hip. These lovely arrangements are sometimes pictured floating in a black ether. I particularly enjoy the painting SERPENTINE, pictured below, as well as in the installation photo seen in the header of this email.

In a new work, VORTEX, Sprung gives us a mandal skirted woman seen from high above. Long arms huddled to one side, it is a delicate yet fashionable piece.

Sharon Sprung

VORTEX

Oil on Panel

40" x 40"

The Fine Print of Steve Mills

LEANING TO THE MIDDLE is the final painting in the "leaning" series by Steve Mills.

It is an extraordinarily refined piece with notes of Thiebaud-esque color ( precise lavenders, yellows and reds). The central focus of the piece is the coverage by the Wall Street Journal of the two political presidential conventions - each placed on their respective side of the composition. Centrally placed in the composition is a wonderful Swarovski vase filled with luminous marbles. The details and the textures throughout are exceptional - from the text reflected in the vase to the trompe l'oeil staple stuck in the shelf. E N J O Y.