Clark Hulings, a superb American artist I wrote about in 2009, died in February of this year.

In what is being described as his last show of new work, The Forbes Galleries in New York will host a show titled Clark Hulings: An American Master from March 23 to September 10, 2011.

The exhibition will feature 48 works, including oil paintings, drawings and watercolors, ranging from large finished works to small pochade sketches. Of these 15 oils and 6 drawings will be offered for sale separately through Morris and Whiteside Galleries in South Carolina.

The latter gallery has a slideshow of the works on their website, adding nicely to what it an unfortunately small amount of his work available for viewing on the web.

Click on the first thumbnail to launch the popup window and you can then step through the images with the controls at bottom, or let it run as a slideshow. (It appears to have a glitch in displaying one of the last 7 or 8 images; you may have to close and reopen the popup.)

Pecay from Bibliodyssey, who has a knack for these things, points us to a nice selection of posters from Alphonse (Alfons) Mucha, the Czech artist whose name is essentially synonymous with “Art Nouveau”.

The images are on the Gallica Digital Library, produced by the National Library of France.

There are three pages of images (arrows at top and bottom), and discounting multiple copies of the same poster, about 30 posters.

Though not the largest or best Mucha images available on the web, it’s a nice selection and an enjoyable diversion. You can find more Mucha resources in my previous posts listed below.

[Addendum: I just noticed that in a nice bit of synchronicity Gurney Journey has a post today about Mucha’s very different images for “La Pater“.]

Sherrie McGraw paints subtle, refined still life paintings that combine the feeling of traditional Dutch masters with the more modern sensibilities of contemporary paint handling; in which crisply defined objects shine out of their deep chiaroscuro relationships with their backgrounds.

She also paints forceful portraits and figures, in which the same relationships are heightened by even bolder brushwork.

As a young woman, McGraw studied at the Art Students League in New York with renowned American artist David Leffel. She also studied artistic anatomy with Robert Beverly Hale and Jon Zahourek at the New York Academy.

The influence of Leffel can be seen, I think, in her richly textured, painterly approach to traditional realism. At least, that’s what I would call her approach. McGraw has an interesting philosophical essay on her site about “Abstract Realism“.

McGraw travels and teaches workshops at highly regarded art institutions around the U.S., including the Portrait Society of America, the Pennsylvania Academy of the Fine Arts, Studio Incamminati, the Art Student’s League, Academy of Art University and the Los Angeles Academy of Figurative Art.

She is the author of The Language of Drawing (available from the publisher, Bright Light Publishing). She also edited and wrote the foreword for Galina Tulzakova’s The Drawings of Nicolai Fechin, and is at work on a new book on painting. (See her website section for Books.)

In addition to galleries of her paintings and drawings, her website also features a section on her choice of materials that includes links to suppliers and her own instructions for priming raw linen.

In July of last year the Getty Museum in Los Angeles acquired one of Joseph Mallord William Turner’s great masterpieces, Modern Rome – Campo Vaccino (and a pretty price they paid for it, too.)

Though not part of a special exhibition as far as I can tell, the museum is highlighting the fact that this magnificent work is on display.

The Getty Iris, the museum’s blog, has an interesting post called Labeling Turner, about the often overlooked process of creating a museum label for the piece, in this case a slightly more elaborate one than usual. The post includes photos of the painting in its place in the gallery.

The painting, a prime example of Turner at the height of his abilities, is a sweeping vista of “modern” Rome, i.e. in Turner’s time, 1839. The term “Campo Vaccino” means “cattle field” or cow pasture, the open area of the Roman Forum before it was excavated.

There is a larger image of the painting here as part of the VisualBites article. Wikipedia has a bit of history on the painting.

For more Turner resources, see my post on J.M.W. Turner.