Palette Navigation Bar
Feed on
Posts
Comments

Yesterday a reviewer from a major city paper was the first to see Eye To Eye, and if her reactions or comments were any indication, it looks as though we have a hit on our hands. The review is scheduled to run on Friday June 11th. We’ll post a link to it once it is up.

If the past is any guide, a good review in a major paper brings out a large audience. We encourage you to come out opening weekend to avoid the crowds on our second weekend when the reveiw comes out, or even the group that will be here for Paul DuSold’s portrait demonstration on the 19th. Not only will it be a little less hectic, but you can say after the review comes out, “Oh, I saw that show already.”

On Saturday June 19th, DuSold will give a portrait demonstration in the Main Studio at 2:30 pm. Visitors are invited to witness history as DuSold paints the first work painted in the studio since Solowey’s death in 1978. RSVP

Like Ben, Paul is one of the few accomplished portrait painters who not only can capture the personality of his sitter, but also speak intelligently to an audience while doing it. We are thrilled to have Paul be the first painter to use Ben’s remarkable studio.

This is history in the making, so you don’t want to miss this event.

The James Michener Art Museum continues its tradition of studio visits with a special tour “of the only remaining intact studio from the Golden Age of Bucks County Art.. Located on a 34 acre farm in Bedminster, the views from the studio are virtually the same as when Ben Solowey arrived in 1936. The artist felt he saw a landscape to paint every time he looked out his studio window. “When you visit the studio of Ben Solowey, you do more than see an exhibition, you enter an artist’s world,” wrote Edward Sozanski, Philadelphia Inquirer Art Critic. “The charm of [the Studio] is its sense of intimacy and immediacy. Nothing is under glass or roped; rather, it conveys the uncanny feeling that Solowey has just stepped away from his easel and will be back any minute….you couldn’t imagine wanting to be anywhere else.” The Solowey Studio presents two interpretive exhibitions per year of the work of Solowey and his contemporaries. The recent Charles Ward show at the Michener began as a smaller exhibition at the Studio. On view in June will be a new exhibition of the work of contemporary painter Paul DuSold, and his selection of Solowey works.”

The tour runs  10 am – 12 pm. Fee: members $15/non-members $20. Space is limited. To reserve a place,  click here.

The Studio will be open to its regular public hours that day from 1 to 5 pm.

An Artist Admires

Having had the pleasure of going through canvases and drawings and other works of paper by Ben Solowey with artist Paul DuSold, I came away seeing the work in a different light. I’ve looked at, studied, and admired Ben’s work for years, yet in a short time with Paul, I came with a fresh perspective on Ben. seeing Ben’s work through the eyes of another artist is a refreshing experieince and one that I think visitors will enjoy.

Paul was taken with the works that speak to ben’s presence in the studio and the world outside its doors. Not finding any landscapes amongst Paul’s works, I assumed that it was a genre he did not enjoy. Yet he selected several stunning landscape canvases by Ben.

Landscape With Red Barn Oil on canvas, 30 x 36. C. 1940

Landscape with Red Barn from 1940 shows a view of the east side of the Studio (when it was still very much a barn and painted red) from the vantage point of the front of the house. We have not exhibited this work in ten years, since the exhibition, Portraits and Landscapes by Ben Solowey at  Lebanon Valley College as part of Ben’s Centennial Celebration.

End Of Summer - Our Lane Oil on canvas, 25 x 30. 1942

Paul picked another wonderful work, End of Summer from 1942, which has had a distinguished exhibition history beginning in 1948 at Virginia Museum of Fine Arts as part of a traveling show from the Art Institute of Chicago. The last museum to show the work was the James A. Michener Art Museum’s  short-lived satellite museum in New Hope in 2003, as part of  their inaugural exhibition Coming Home. It was last seen in  he Studio in 2005.

Here’s what Edward Sozanski, Art Critic for The Philadelphia Inquirer wrote about Paul DuSold’s work in a 2005 exhibition. Under the heading “Echo of the Masters”:

Paul DuSold’s “atmospheric” realism, displayed in an exhibition of 28 still lifes at the Gross McCleaf Gallery, might, as he says, be influenced by artists of 16th-century Venice, especially in the slightly hazy way he describes form.

Yet to my eye his elemental compositions of fruit, bread and flowers set against dark backgrounds also owe something to later Spanish masters such as Diego Velázquez, Francisco Zurbarán, and especially Luis Melendez.

DuSold’s luminous oils combine the shimmering fluidity of the Venetian style with the classical rigor and slightly austere dignity realized in the Spanish approach. Martin Johnson Heade, a 19th-century American, also comes to mind.

Like the Spaniards, DuSold chooses simple, compact subjects – fruits and breads in containers, often set on a block of marble to create spatial variety, and accented with flowers.

Each grouping is a tiny universe of interacting objects held together by visual gravity. This effect is particularly apparent in a painting of a large cabbage and a small apple in a bowl, with an even smaller shell on a lower level.

The dark grounds not only create a spotlight effect, they encapsulate the brighter subjects in a cocoon of silence that isolates each group from the outside world. Ultimately, each picture becomes a finely calibrated demonstration of perfect equilibrium involving shape, light, color and texture – the basic tools of painting.

August. Oil on canvas. 16 x 10 in., 2009 Paul DuSold.

The Studio of Ben Solowey is pleased to announce a new exhibition, EYE TO EYE: Paintings and Drawings by Paul DuSold & Ben Solowey, featuring a collection of artwork by award-winning painter Paul DuSold and works by Ben Solowey (1900 – 1978) selected by DuSold. This is first show at the Solowey Studio of a contemporary artist in sixteen years. The exhibition will open to the public on Saturday June 5th at the Solowey Studio in Bedminster, PA with a reception from 1 p.m. to 5 p.m. The installation will continue Saturdays and Sundays, 1 p.m. to 5 p.m., through Sunday, June 27, 2010.

“Paul DuSold carries the drama of the Spanish painters and the subtlety of the Venetian masters in his brush,” says David Leopold, Director of The Studio of Ben Solowey. “His palette is lush but not flamboyant. He describes his work as ‘atmospheric realism,’ and his canvases evoke a beautiful luxury of everyday objects. He favors still lifes, portraits, and figure compositions, and we will present a selection of these paintings and drawings in our new show.

“In our Main Studio, we’ve asked Paul to chose works by Ben Solowey from our collection. Our goal is to see Ben’s work through the eyes of another artist, rather than a historian or curator, as well as to showcase the work of a painter who shares with Ben Solowey a love of beauty, color, light, and form.”

On Saturday June 19th, DuSold will give a portrait demonstration in the Main Studio at 2:30 pm. Visitors are invited to witness history as DuSold paints the first work painted in the studio since Solowey’s death in 1978. RSVP

“Like Ben, Paul is one of the few accomplished portrait painters who not only can capture the personality of his sitter,” explains Leopold, “but also speak intelligently to an audience while doing it. We are thrilled to have Paul be the first painter to use Ben’s remarkable studio.” The inviting studio, and the 34 acre property it sits on, were created and landscaped by Solowey after he left New York in 1942. The Studio has been featured in Architectural Digest, Pennsylvania Heritage, The Discerning Traveler, and Bucks County Town and Country Living.

“In honor of our opening on June 5th we will continue our tradition of serving homemade refreshments in the Solowey home, “ says Leopold. “The two hundred-year old farm house was restored by Ben and is filled with museum quality furniture handcrafted by him. This will probably be the only time we open the house this year, so this truly is a special event.”

Last Chance

jardindeluxemborg naturiums

reflection violets

This is it. The final weekend of AN INTIMATE VIEW: Small Paintings & Drawings by Ben Solowey. The show has been another success for the Solowey Studio and we are delighted by the scores of people who have visited and have enjoyed the exhibition. Even after 17 years of shows, it is surprising how many of these works have never been exhibited before, or have not been shown in years.

As there are pieces from virtually every part of of Ben Solowey’s career, this exhibition is literally a small retrospective. The show cover a half century of Solowey art.

The first pieces are from Ben’s sojourn to Europe in 1924 (the subject of a 1995 exhibition) and reveal their influence on his later work.

From his New York years, there’s a peek into Ben’s studio, theater portraits, and a still life (in one of Ben’s hand carved, gold leaf frames) that was recently discovered in a private collection and that has not been exhibited than 60 years.

There are several portraits of Rae throughout the years, including an very early portrait, a stunning 1939 oil, and an exquisite view of the artist’s wife from the 1950s (in another of Ben’s handcarved, gold-leaf frame).

What you don’t want to miss are the unexpected pleasures of Ben’s work in the exhibition. The heavily impasto 1925 self portrait, the quintessential image of Rae titled Sunny Corner, the serene still life of peonies in a cut glass vase, the pastel that brought so much joy to Kitty Carlisle Hart, or the roughly painted landscape in which Ben used a palette knife rather than a brush.

To see all of this in the studio where much of it was created, set in the middle of a 34 acre farm where the winter wheat is almost ready to harvest and lush vegetation is everywhere, is an offer that you don’t want to let pass by.

Clockwise from top left: Nasturtiums. Oil on canvas, c. 1935, 16 x 20 in; Jardin de Luxemborg. Oil on board, 1924, 13 x 16 in; African Violets. Oil on canvas, 1926, 20 x 16 in. Reflection. Watercolor on paper, 17 x 12 in.

Something Different

morningmoodlr

In my “2:30 talks”, what I don’t mention is frequently asked about by visitors. The “talks” are closer to conversations with people who are interested in Ben Solowey’s art. I call them the “poor man’s audio tour” because I talk about the paintings and drawings as people are looking at them. Spontaneous questions from visitors provide more opportunities to compare and contrast works on the walls.

One painting that continues to intrigue visitors is a landscape from the final years of Ben’s career. A work that at first glance doesn’t “look” like a Solowey. Gone is the rich smooth surface of many of his oils. In its place, thick jagged gobs of paint. People often mention Van Gogh, but he is just one of many influences perhaps.

Titled Morning Mood, this small work is a palette-knife painting. Instead of a brush, the paint was applied to the board with a knife. The rough handling of the color gives the work vitality. A brilliant blue sky, smeared with clouds, overhangs a distant peak (perhaps Mt. Haycock) in the background. A field just before harvest dominates the foreground, framed by green. Trees? Other crops? Who knows?

He signed the piece with a flourish on the verso, but never exhibited it. Perhaps he might have considered it for a retrospective that was planned for the Woodmere Art Museum in the spring of 1979. With Ben’s death in May, 1978, the exhibition became a memorial, featuring more than 100 paintings, drawings, and sculptures.

The nearly 40 works in AN INTIMATE VIEW: Small Paintings & Drawings by Ben Solowey serve as their own tour through Ben’s career beginning with paintings from Europe in 1924, through his New York years, including three Theater Portraits, and concluding with pieces from more than four decades on this farm. With works such as Morning Mood, there is more than a half century of art on view in this exhibition.

This new show runs Saturdays and Sundays, 1 to 5 pm through June 28th.

Morning Mood. Oil on board, c. 1977, 6 1/4 x 9 1/2 in.

Thank You

henrysignWe had a beautiful opening weekend. It is always a pleasure to see old and new friends, and the reaction to the exhibition was gratifying. Just as he did last year, our seven year old, Henry, and his cousins, sold flowers cut from the garden, American flags, and pine cones with glitter on them to raise money for the Aark Foundation Wildlife Rehabilitation and Education Center, which helps injured animals. Thanks to everyone who helped them raise $40.75.

One More Reason To Visit

easel3 flowerssilvergold

easelsketchesdetail framedetail

Like so much in his studio, Ben Solowey made his easel, by hand. It stood center-stage for still lifes, portraits, and interiors, but at night he sometimes wheeled it in a cool corner and hung it with a damp towel so that the oil paint on his canvas would stay supple and wet. This “wet on wet” technique produced a rich smooth surface on many works that convey an air of tranquility that Ben and Rae’s found here on their farm.

His model stand (a five drawer flat file) and his palette table (an upended antique tea chest) are also on wheels, so he could move them wherever he needed them. From photographs, paintings, and drawings, we know that the configuration of the studio was always in flux when Ben was working, and some of that continues today. I think one of the reasons the studio still feels very much “alive” is not because we left everything in place, but rather because we frequently move items around, just as Ben did.

If you look closely at his more than seven-foot tall easel where he stored his brushes, you’ll see sketches of birds. “Drawing was to breathing for Ben,” Rae often said, and the movement of blackbirds and pheasants were regular subjects of a spontaneous sketch, particularly in his later years.

On the easel at the moment is a lovely pastel drawing, titled simply Flowers – Silver and Gold. This still life of spring blossoms including tulips, dogwood, and snowball hydrangea was culled from the property. Because these plants are all still here, we know he drew this in approximately May. That is one of the wonders of this place, to see the source material for Ben’s still lifes come to life. It provides a direct connection to the work for any visitor.

The drawing is housed in one of Ben’s handmade, gold-leafed frames. A simple delicate work that sets off the drawing quite nicely. While not technically part of AN INTIMATE VIEW: Small Paintings & Drawings by Ben Solowey (the main studio is given over to works of all sizes), it still worth the trip as it is a work on consignment, and we cannot guarantee that it will be here on a future visit.

« Newer Posts - Older Posts »