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Promoting some friends and some clients of my website design business
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Women Painting Women, RJD Gallery 2017

“Women Painting Women: A Voice with a Vision” is a group show at the RJD Gallery in Bridgehampton, NY (Long Island) that opens this Saturday, October 7, and runs to October 30, 2017.The title of the show pretty well describes the theme. There is a nice variety of approaches — within the traditions of representational realism.
This is the 5th annual version of the exhibition; I previously covered the 2015 show.
As of this writing, the page for the exhibition on the gallery’s website is out of date, and is still focused on artist submissions rather than promoting the final show to gallery goers.
However, there is an online gallery of nicely zoomable images of work from the show on the gallery’s Artsy page.
(Images above: Bryony Bensly, Erin Anderson, Jantina Peperkamp, Rachel Moseley, Sarah Stieber, Dana Hawk, Daggi Wallace, Odile Richer, Margo Selski, Andrea Kowch)
[Via Karin Jurick]
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Eye Candy for Today: Constable’s Salisbury Cathedral

Salisbury Cathedral from the Bishop’s Garden, John ConstableLink is to zoomable version on Google Art Project; downloadable version on Wikimedia Commons; original is in the Frick Collection, NY.
Constable painted the Salisbury Cathedral a number of times, from several different points of view. This view is the most familiar, and is deservedly one of Constable’s best known paintings.
What isn’t as well known is that there are two finished versions of this composition, as well as a full-size preparatory study.
The original version, now in the Victoria and Albert Museum, had a darker sky and a vantage point slightly closer to the cathedral. The painting was commissioned by Dr. John Fisher, Bishop of Salisbury, who was a close friend of Constable’s.
Constable described it as one of his most difficult landscapes, citing the structure of the cathedral and the light to dark relationships in particular.
Fisher, however wasn’t fond of that version’s darker, more overcast sky, and Constable painted this second version with a lighter sky and a viewpoint slightly further back, opening up the composition somewhat. The full-size study for this version is now in the Metropolitan Museum of Art.
I haven’t seen the V&A version, but in reproduction, it looks as though Constable has made other adjustments to the balance of light and dark in the second painting. In the Frick version, the cathedral seems lighter and the foreground darker, as if to compensate for the lack of the darker sky to highlight the cathedral.
Both paintings also include cows grazing on the Bishop’s grounds, and the Bishop and his wife in the left foreground, pointing to the spire. Farther back along the path is a young woman with an umbrella, presumably one of the Bishop’s daughters.
I had the opportunity to see the original in the Frick Collection over the weekend, and I was again impressed with how modern the painting looks — in its immediacy, the almost impressionistic brush marks in the foliage, and the wonderfully painterly approach to rendering the trunks of the trees. Constable’s white highlights are physically thick and textural; his approach to the trees in many ways anticipates the work of the French Impressionists later in the century, as well as contemporary landscape painting in general.
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The Frick Collection, NYC

I was in New York over the weekend and I took the opportunity to visit the Frick Collection, which I haven’t been to for a few years (it’s often hard for me to get past the Met and the Morgan Library to other museums when I’m in NYC).
The Frick is based on the collection of Pittsburgh industrialist Henry Clay Frick, and is housed in his mansion on Manhattan’s Upper East Side, at 5th Avenue & 70th, not far from the Met.
Though it’s a pretty large urban mansion, it’s a small museum compared to behemoths like the Met or the Brooklyn Museum, but given its size, I think it has some of the highest “masterpiece density” of world-class works per square foot of major museums (perhaps only beaten out by the Uffzzi).
There are stunning, famous and often reproduced works by Vermeer, Rembrandt, Titian, Velazquez, Belinni, Holbein, Constable, Turner, Ingres, Monet, Degas, Whistler and… well, more than I can list here.
If you’re in NYC and want a good dose of masterpieces without dealing with the mind-boggling scale of the Met, the Frick has your number.
Though based on Henry Clay Frick’s collection, the museum is not static, there are changing exhibits, and the museum continues to acquire works for the collection.
The Frick has “pay-what-you-wish” admission on Wednesdays from 2-6 p.m.
Online collection
Though I’m glad the museum has put their collection online in an easily searchable manner with reasonably large images, they have not been as generous as some museums in terms of making high-resolution images of their collection readily available, and photography is not permitted in the museum (you can take your selfies in the central court, but not in the collections).
For those who can’t visit in person, the online gallery can be searched directly or sorted by collection (i.e. paintings, works on paper, sculpture and other decorative objects), and browsed or searched from there.
There is also a collection app, suitable for tablets, though the resolution is not quite as high as the website.
Even for those in NY who can readily visit the museum, it’s worth browsing through the works on paper in particular, as there are numerous objects that can’t be displayed often, and it’s a really nice collection to browse online.
What isn’t obvious when viewing the collection online (and really should be) is the option to use a Mirador IIF pop-up viewer to view an enlarged version of the image in a full-screen window.
Though the resolution of the image isn’t higher than the built into the page enlargement, the latter has to be viewed within the constraints of a window in the page.
The full page viewer is accessed by clicking the enigmatic Miridor IIF icon at the bottom of the right-hand information column for each image. The icon looks like three lower case i’s and an f. Why they can’t also label this link with “full screen viewer” or some other explanatory text is beyond me.
That being said, there are also a few high-resolution images of some of the objects in the Frick Collection from other online sources. You can find some of them in zoomable form on the Google Art Project, and others by using a size-filtered search on Bing Images or Google Images. (Hopefully, these links will work for you, I’ve set them to “Frick Collection paintings” and filtered for 1600 pixels wide or larger).
There is also a selection of images from the Frick Collection on Wikimedia Commons, though only a few of them are higher in resolution than the ones on the Frick Collection website.
(Images above: Johannes Vermeer, Giovanni Bellini, Hans Holbein, John Constable, James Whistler, Rembrandt van Rijn, Joseph Turner, François Boucher, Jean-Auguste-Dominique Ingres, Titian, Jean-Baptiste Simeon Chardin, Giovanni Battista Tiepolo, Johannes Vermeer)
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Eye Candy for Today: Heinrich Böhmer Landscape with Deer

Landscape with Deer, Heinrich BöhmerLink is to The Greatest of Art blog; there is another copy of the image on The Golden Kite Forum. I don’t know the location of the original.
Turn of the century German landscape painter Heinrich Böhmer had a wonderful touch with atmospheric perspective in his woodland interiors. I love the sense of filtered light dappled across the rocks, stream and forest floor.
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Michael Rothman

Michael Rothman is a natural science illustrator who appears to specialize in complex scenes of plants and animals in their natural environment. His subjects include both extant and extinct species.Rothman has a superb ability to render highly detailed compositions — with multiple focal points of individual plants and animals — in a way that is both clear and naturalistic.
Some of his paintings are so naturalistic that they have the feeling of nicely painted landscapes that just happen to be intimate in scale. I particularly admire his representation of textures; many of his images feel highly tactile.
Rothman’s online profile mentions that he works both in traditional and digital media, but the individual images in the galleries on his website don’t have an indication of medium.
There is also a selection of his images on Science-Art.com.
Rothman’s clients include publications like The New York Times, Scientific American and The New Yorker, publishers like Random House, Wiliam Morrow and Harper/Collins, and a number of museums, zoos and other institutions.
Some of his book credits as illustrator include: Here Is the Tropical Rain Forest (Web of Life), At Home with the Gopher Tortoise: The Story of a Keystone Species, The Forest in the Clouds and Jaguar in the Rain Forest (Amazon links).
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Short Trip, Alexander Perrin

Short Trip is a hand-drawn interactive animation by Alexander Perrin.The author calls it an “interactive illustration”, and the drawings are done in pencil.
If you would like to be simply and delightfully amused for 5 or 10 minutes, turn your sound on, open your browser to full screen and play with it using the left and right arrow keys.
There is information about Perrin and the project here.
[Via Jason Kottke]
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Charley’s Picks
Bookshop.org
(Bookshop.org affilliate links; sales benefit independent bookshop owners; I get a small percentage to help support my work on Lines and Colors)
John Singer Sargent: Watercolors
Urban Sketching: Understanding Perspective
Charley’s Picks
Amazon
(Amazon.com affiliate links; sales go to a larger yacht for Jeff Bezos; but I get a small percentage to help support my work on Lines and Colors)
John Singer Sargent: Watercolors
Urban Sketching: Understanding Perspective











