Arthur (Stearns) Holman (1926 – )


The painting by Arthur Holman is oil on canvas measures
56″ x 72″ (142.24cm x 182.88cm). It was created :1974 and Titled: ”Triad,”
The painting is part of the Farhat Art Museum in the Modern American Art.
Post War California artist, Arthur Holman studied at the University of New Mexico, BFA 1951; Hans Hofmann School 1951; and the California School of Fine Arts 1953.

Solo Exhibitions: Esther Robles Gallery, Los Angeles 1960; David Cole Gallery, San Francisco 1962; de Young Museum, San Francisco 1963, San Francisco Museum of Art, 1963; Gumps Gallery, San Francisco 1964, 65, 66, 69, 87; Marin Civic Center Gallery 1970, 95; William Sawyer gallery, San Francisco 1971, 73, 74, 76; Bolles Gallery, Santa Rosa 1982; Braunstein Quay Gallery, San Francisco 1992.

Selected Exhibitions: The Art Bank of the San Francisco Art Association, 1958, 59, 60, 62,63; Alan Gallery, New York City 1959; 50 California Artists, Whitney Museum of American Art, Walker Art Center, Albright Knox Gallery and Des Moines Art Center 1962; Some Points of View, Stanford University 1962 (Purchase Award); Winter Invitational, California Palace of The Legion of Honor, San Francisco, 1962-64 11th Invitational, Contemporary American Painters and sculptors, University of Illinois 1963; 19 Artists West of the Mississippi, Colorado Springs Fine Art center 1963; University of North Carolina Annual 1965; California Painting and Sculpture: The
Modern Era, San Francisco Museum of Art 1976; 20th Century Landscape Drawings, de Young Museum, San Francisco 1989.

Literature: Thomas Albright, Art in the San Francisco Bay Area, 1945-1980; San Francisco Museum of Modern Art, The Painting and Sculpture Collection; Henry Hopkins, California Painting and Sculpture: The Modern Era, 1976; Who’s Who in American Art.

David J Carlson, Carlson Gallery,

“Arthur Holman’s abstract paintings of the 1950s used regular, abbreviated brush strokes-almost a kind of pointillism-to build subtly modulated surfaces of extremely close-valued colors.” Holman’s abstractions were based upon impressions of nature: “natural light, natural spaces. In the 1960s and 1970s he turned to more clearly defined, visionary landscapes bathed in radiant colors and reminiscent of the paintings of Bonnard.” (Albright)

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