Friday, 4 November 2011

Henry Percy Gray - part 1

Henry Percy Gray (1869-1952) was an American painter known for his pastoral depictions of the Northern California landscape. Gray was born into a San Francisco family endowed with a broad literary and artistic background. He studied under Arthur Frank Mathews at the San Francisco School of Design and later under William Merritt Chase (blog post on Chase to come at some point soon). While he had some early Impressionistic tendencies, his primary expression was under the Tonalism Mathews had brought back from Paris.
From there he went on to become a newspaper illustrator, obtaining a job with the New York Journal. In New York he also studied at the Art Students League. He was dispatched from New York to cover the 1906 San Francisco earthquake, but decided to remain in his native city where he would then take up his painting career.

Gray's first pieces, headland seascapes, were exhibited in 1907; soon thereafter he addressed in watercolour eucalyptus groves and fields of California wildflowers. These subjects would become signatures of his work. Originally Gray's works were oils; however, he eventually developed an allergy to oil paints, and therefore switched to using watercolours as his primary medium.
From early on the critics marvelled at his ability to infuse realistic depictions of nature with a mystical and poetic quality. He was clearly applying the precepts of his mentor William Merritt Chase in the exaggeration of light and colour.

From 1912 to 1923 Gray lived in Burlingame, California about twenty miles south of San Francisco, while keeping his studio in the city itself. At the 1915 Panama-Pacific International Exposition he won a bronze medal for his watercolour Out of the Desert, Oregon. Having been a bachelor for 53 years, Gray surprised his friends by marrying. He and his bride moved to the Bonificio Adobe in Monterey, where seascapes and cypress dominated his later works. In 1939 the Grays sold their adobe and moved to San Francisco. Restless for the out of doors, Gray and his wife moved to San Anselmo at the base of Mount Tamalpais in 1941. After ten years in Marin County, his wife died and he returned to San Francisco. Gray died in 1952.

I’m afraid I don’t have the dates for many of Gray’s works.


1907 San Francisco Bay from the Alameda Hills 
watercolour 31 x 36 cm

1909 Tree on a Hillside 
watercolour 33 x 28 cm

1918 California Landscape 
oil on canvas 48 x 71 cm

1924 Cypress Trees Near Point Lobos 
watercolour 40 x 50 cm

1926 Rogue River Gorge 
watercolour 56 x 41 cm

1926 Two Oaks 
watercolour

1927 Path to the Blue Mountains 
watercolour

1930 Weathered Oak (detail) 
watercolour and gouache 25 x 36 cm

c1934 Corral de Tierra 
watercolour 33 x 48 cm

Aetna Springs, California 
watercolour 31 x 41 cm

Aetna Springs, California 
watercolour 31 x 41 cm

Aetna Springs, California 
watercolour 51 x 41 cm

Aetna Springs, California 
watercolour 51 x 41 cm

Autumn Dunes 
watercolour 31 x 41 cm

California Ranch 
watercolour 36 x 46 cm

Early Meadow Landscape 
watercolour 26 x 33 cm

Entrance to the Golden Gate 
watercolour 41 x 51 cm

Flower Field Carmel Valley 
watercolour 41 x 51 cm

Guardian Oak 
etching 13 x 16 cm

Into the Valley 
etching

Wednesday, 2 November 2011

Norman Bluhm - part 2

This is part two of a two-part post on the works of American abstract expressionist painter Norman Bluhm (1921 - 1999). For biographical notes and earlier works see part one.


1971 Oenotria 
oil on canvas

1972 Iole 
oil on canvas

1973 Untitled 
watercolour, ink, acrylic

1974 Untitled 
acrylic and pastel on canvas

1974 Untitled 
acrylic and pastel on paper

1975 Untitled 
acrylic on paper

1977 Untitled 
acrylic and pastel on paper

1978 Sooty Lady 
oil on canvas

1984 Untitled 
acrylic and pastel on paper

1985 Laredo Lady 
oil on canvas

1986 Oriental Madonna 
oil on canvas

1987 Black and White 
acrylic on paper

1987 Mosaic #7 
acrylic and pastel on paper

1988 Aegean Angel 
oil on canvas

1989 Byzantine Angel 
oil on canvas

1997 Untitled 
acrylic and ink on paper

1997 Untitled 
acrylic on paper

Monday, 31 October 2011

Norman Bluhm - part 1

Norman Bluhm (1921 – 1999) was an abstract expressionist of the second generation that came to fame in America. Bluhm took a circuitous route to becoming an artist. He studied architecture at the Armour Institute of Technology (now the Illinois Institute of Technology) under Mies van der Rohe for three years before he enlisted in the United States Army Air Corps in 1941.

After the war ended, Bluhm briefly returned to Chicago and in 1947, decided to devote himself to art rather than architecture. For a short time he studied at the Accademia di Belle Arte in Florence, but then settled in Paris from 1947-1956. There he attended both the Académie de la Grand Chaumière and the Ecole des Beaux Arts and came to know other artists like Alberto Giacometti and other modern painters. He also appeared in Jean Cocteau's film Orphee, as a handsome black-goateed intellectual sitting in a cafe reading Portrait of the Artist as a Young Man. In 1956 Bluhm moved to New York City and became a core member of the hard-drinking, hard-fighting crowd around the notorious Cedar Tavern, a now mythic high point of Manhattan bohemianism. A year after arriving in New York, Bluhm had his first solo show with the new Leo Castelli gallery, where he appeared with such contemporaries as Robert Rauschenberg and Jasper Johns. He also began showing his works at other renowned galleries such as Martha Jackson in Manhattan and Galerie Stadler in Paris.

Bluhm returned to Paris in 1964 for a year before moving to East Hampton and, finally, remote Vermont. When he came to Manhattan it was to visit the Metropolitan and the Cloisters, whose 15th-century "Unicorn" tapestries were as major an influence as the works of Tiepolo, Rubens, Matisse or ecclesiastical stained glass.

Bluhm died in 1999. A 40 year retrospective was held in 2000 at the Butler Institute of American Art in Ohio along with the publication of the first full-length monograph, by Galleria Peccolo in Livorno.
In 2007, the Station Museum of Contemporary Art in Houston, Texas, organised a major exhibition under the title 'The Late Paintings of Norman Bluhm'. The Houston Press reported that The New York artist’s panoramic paintings are patterned like stained glass windows or mandalas, but the shapes inside are sexy while Garland Fielder's review at Glasstire mentioned that Bluhm’s paintings project such a life-affirming and honest candor, one cannot help but feel awash in a glow of spiritual joy.


1954 Noir 
oil on canvas

1955 Green 
oil on canvas

1956 Brûlure 
oil on canvas

1958 Bear Trail 
oil on canvas

1958 Untitled 
ink on paper

1959 Untitled 
ink, gouache and watercolour on cardboard

1960 Fallen Monument 
oil on canvas

1960 Untitled (triptych) 
gouache and ink on paper

1960 Untitled 
oil on canvas

1960 Untitled 
oil on paper

1961 Coney Island 
oil on paper

1961 Prohibition 
oil on paper

1962 Joan Crawford's Rage 
oil on canvas

1962 Snare 
oil on canvas

1964 Dry Ice 
watercolour and gouache on paper

1964 Untitled (No.5) 
acrylic on paper

1966 Untitled 
oil on paper

1967 Theodora 
oil on canvas