Ottorino Stefani

Farhat Art Museum Colletion

The painting by Ottorino Stefani is part of the Farhat Art Museum in the Contemporary Italian Artist.

Title:Primavera Mantellema
34″ x 47.25″
(86.36cm x 120.02cm)
Created: 1995
Signed and Dated

Ottorino Stefani è nato a Volpago del Montello, in provincia di Treviso, nel 1928. Ha compiuto i suoi studi a Venezia, presso il Liceo Artistico, l’Accademia di Belle Arti, l’Istituto Universitario di Architettura e presso la Facoltà di Lettere e Filosofia, dove nel 1968 si è laureato con una tesi interdisciplinare sul Canova. La sua intensa attività pittorica è documentata da numerose ed importanti mostre personali in Italia, Germania, Francia e America, dalla partecipazione a rassegne internazionali (XLV e XLVI Biennale di Venezia) e da cinque monografie scritte da Giuseppe Marchiori, Andrea Zanzotto, Paolo Rizzi, Giulio Carlo Argan e Marco Golden. Con l’editore Bino Rebellato ha pubblicato le raccolte di poesie: Terra rossa (1963), Viaggio al mio paese (1967), Il dolente equilibrio (1970, Premio “Alte Ceccato”), Un gelido furore (1974), I treni di De Chirico (1985, Premio “Carducci” per l’inedito e Premio “Buzzati”). Nel 1984 ha vinto il premio “Camposampiero” per la poesia religiosa. Nel 1985 è uscito Orologio di stelle, edizioni Amadeus. Tra i suoi studi sull’arte veneta ricorderemo quelli dedicati a Noè Bordignon, Luigi Serena, Lino Bianchi, Barriviera, Renzo Biasion, e soprattutto, quelli su Antonio Canova (giudicati da Argan “i più importanti sull’artista”): La poetica e l’arte del Canova, prefazione di Giulio Carlo Argan e Giuseppe Mazzariol, Canova, 1984; I rilievi del Canova, Electa, 1990, introduzione di Giulio Carlo Argan (Premio “Mazzotti – Finestra sulle Venezie”, 1991); Canova pittore, Electa, 1992, seconda edizione 2005; Antonio Canova. La Statuaria, prefazione di Vittorio Sgarbi, Milano, Electa, 1992, seconda edizione 2003. Ha recentemente pubblicato per Ghelfi Editore l’opera in due volumi Arte Triveneta. Dal Barocco alle ultime ricerche del Duemila.

Ottorino Stefani is the author of two bulky volumes Triveneta art: from Baroque to the latest research of two thousand (Art Editions Guelph, Verona). Stefani was born in Montello Volpago in 1928, generously traces the milestones of art history. The historic route, which Stefani offers betrays no doubt loves and passions, but, as he recites the same, what is art if not personal projection? The criterion is therefore based on the names of the essential artistic firmament, which we are living in Triveneto light: Giorgione, Tintoretto, Titian and Canova Treviso that the artist loves more than any other. Two books written from the heart in Venice, a city that has grown both culturally and artistically Stefani, as she was involved in the research of Wagner’s all-encompassing work of art.
Stefani is a painter, a debtor to Gino Rossi indelible imprint, praised by the great poet Zanzotto who signs the preface to his collection of poems and art historian Terra Rossa called into question by Argan for his studies on visceral Canova made. Stefani unusual praise the artist, one who is beyond the usual stereotypes that are attributed to those who work in the art. There is talent, yes, but above all there is exercise, there is the work. Wildean conception that in the contemporary art world, focuses on some figures that the art market has thrust into the background. And if the sensational original Cattelan is precisely the market wants, “… because what you can do Cattelan? Do not paint or sculpt know, “Stefani spends magnanimous praise for Aldo Pallaro, contemporary sculptor who refers to Arte Povera, for Breddo, a student of Morandi, which loves to Pendini Pallaro as in the dream of his lost childhood and Floriana Line” great creative intelligence, a true contemporary artist. ”
Two volumes dictated by reasons of the heart of an artist first and foremost a man, indeed, a gentleman, the kind that nowadays they do not find it

Henry Ward Ranger (1858 – 1916).

Farhat Art Museum Collection

The painting by H.W. Ranger is oil on canvas measures 22×28 inches . It is part of the Farhat Art Museum.

A key person in the establishment of the Old Lyme, Connecticut art colony in 1899, Henry Ward Ranger is regarded as the leader of the Tonalist movement in America and was a leading painter in this country in the late 19th and early 20th-centuries.

He was born in Geneseo and raised in Syracuse, New York, and in 1873, enrolled in the College of Fine Arts at Syracuse University, where his father was a professor of photography and drawing. Two years later, he became a re-toucher of paintings in his father’s studio and did not earn a college degree. He also spent much time in New York City, where he was a writer of music criticism and visited galleries, where he had his first exposure to French Barbizon painting. During much of the 1880s, he painted watercolors of marine subjects, and exhibited those in New York City, Boston, and Paris.

As a student in France, he became greatly interested in the Barbizon School of painters, and then a trip to The Hague, Holland, was even more influential when he met a large colony of Dutch painters called “The Hague School”, whose emphasis was on Realism and Tonalism. Their soft, Atmospheric and Tonalist style of sombre colors seemed to suit him. However, his soft colors later became a special problem for anyone trying to restore his paintings as it was difficult to distinguish original color from soil on canvases. He did his sketches “en plein air” but finished his paintings in his studio and often exhibited his sketches and paintings together.

In 1885, Ranger moved to New York City and took up easel painting increasingly favoring oils over watercolors. In 1892, he had a one-man exhibition at the Knoedler Galleries in New York City. Many of his works in that show were forest interiors and tree studies.

Gradually his palette lightened with color and luminosity suggesting the influence of George Inness. In the summer of 1899, Ranger discovered Florence Griswold’s boardinghouse in Old Lyme, Connecticut, and he returned in the summer of 1900. With his influence and the friendship of Florence Griswold, he became the leader of the artists’ colony of Old Lyme, “an American version of Barbizon” (Lowrey 162) for three years. However, the prevalent style changed to Impressionism with the 1903 arrival of Childe Hassam. He became disenchanted with painting at Old Lyme with the arrival of Childe Hassam in 1903 and the subsequent influence of his Impressionist style. In protest of the plein-air, fast painting, and lightened palette and abstraction of these Impressionists, Ranger, in 1905, moved farther down the coast to Noank, Connecticut near the mouth of the Mystic River.

Like many of his associates, he also maintained a studio in New York City where he was very prominent and often lectured and wrote about art and took an active part in the art community. He was a member of the National Academy of Design and the National Arts Club, and he wrote articles about art that were published.

When Henry Ward Ranger died in 1916, he was a childless widower and left his estate to the National Academy of Design to establish the Ranger Fund whose income was to purchase the works of living American artists beyond the age of forty-five.

Sources include:
Carol Lowrey, “Henry Ward Ranger”, The Poetic Vision: American Tonalism, 162, Spanierman Gallery
Michael David Zellman, 300 Years of American Art

David Mauldin

Farhat Art Museum

David Mauldin
Out my Santa Fe Window
oil on canvas
24 x 24in

David Mauldin

The son of editorial cartoonist Bill Maudlin, he is a painter and photographer.

2000 M.A.E., with licensure, University of New Mexico, Albuquerque, NM
1993 M.F.A., School of Visual Arts, New York, NY
1971 B. A., Goddard College, Plainfield, VT

Selected Group Exhibitions:
2005 Las Vegas Art Museum, Las Vegas, NV “Fifteen Santa Fe Artists”
1995 Cline Fine Art Gallery, “Enduring Inspiration, New Mexico Landscape Painting”, Santa Fe, NM
1994 Exit Art, “The Apartment Store”, New York, NY
1993 Exit Art, “The Apartment Store”, New York, NY Visual Arts Gallery, “Special Projects”, Curator: Jake Berthot, New York, NY
1991 Connecticut College, “Arboretum Art”, New London, CT
1983 Armory Invitational, Santa Fe, NM
1981 Dartmouth College, Hanover, NH Wesleyan University, Middletown, CT
1977 Le High University, Bethlehem, PA

Public Collections:
Tinker Air Force Base, Oklahoma City, OK
Dartmouth College, Hanover, NH
Mobil Corporation, New York, NY
Middletown Community Health Center, Middletown, CT

“Fifteen Santa Fe Artists” Las Vegas Art Museum, Las Vegas, NV, 2005

Leon Basile Perrault (1832 – 1908).

Farhat Art Museum Collection


The painting by Leon Bazile Perrault is oil on canvas, it measures 41.5×32.5 inches it is part of the F.A.M collection of European nineteen century genre paintings.

Léon Bazile Perrault

Painter of genre, history, religion and portraits, Leon Perrault stands in peril of not being remembered as distinctively as his successes might merit. For our part, we may narrow this great artist’s claims at once by rejecting his religious painting, and we may be inclined to go on and deny him the title of historical painter, so that, although we shall have paintings of religious subjects and of historical subjects to consider, we shall in truth be considering them as work of a painter of genre and portrait. Assuredly, we are not alone in judging Léon Perrault not to be, in the legitimate sense, a religious painter; but in the matter of history, opinions may be divided. In symbolic genre, on the other hand, he is unmatched, and in portrait so masterly, that his place in those arts is fixed forever.

Léon Jean Bazile Perrault was born in Poitiers, France on June 20, 1832 to a very poor family. As a young boy, he dreamed of ways to produce income to free his family from the pains of poverty. His foolish youthful dreams and impossible schemes to ease and escape the pain would bring young Léon Perrault to make the decision to pursue an artistic career.

At the age of 14, Perrault began taking drawing courses being offered in his hometown. His incredible talent for drawing was eventually spotted by a local painter who would hire this fourteen-year-old boy to help restore the paintings and murals in the churches and the ancient cathedral of Saint Radegonde in the Poitiers.

In 1851, Perrault would take part in a drawing competition and was awarded first place. The drawing was purchased by the state for their collection. Two years later, he would travel to Paris on a 600-franc pension provided by the town of Poitiers. With a letter of introduction, Léon Perrault was welcomed into the home and atelier of Francois Edouard Picot (1786-1868) where he would begin his formal art training. Perrault would continue his studies at the Beaux-Arts Academy, in William A. Bouguereau’s (1825-1905) atelier and at the Académie Julian. The initial years of academic studies and training under the watchful eye of Picot and Bouguereau would profoundly influence Perrault and his interest in allegorical and religious subjects. He would debut in the Paris Salon of 1860 with “Vieillard et les Trois Jeunes Hommes”, inspired by a fable in La Fontaine. The painting now hangs in the Poitiers Museum. Perrault would become an important figure and regular exhibitor at the salons of Paris. He continued to exhibit religious, allegorical, historical military battle scenes. Perrault had enormous success with his “Christ au tombeau” and “la Descente de Croix” at the Salon of 1863 and was awarded metals in 1864, 1876 and 1878.

Of his most successful military scenes, “Le Mobillisé” was an epic scene inspired by the valiant defense of an important episode during the Amérique war. When “Le Mobillisé” was finally exhibited at the Musée Châteaudun, it gave the grandsons of the men who had fought the battle an idea of their bravery. His acceptance as an accomplished military painter would lead to several collaborative works with the studio of Horace Vernet (1789-1863). Most noted of these collaborative efforts done between 1862 and 1864 are; “Attaque de constantine: le colonnes d’assault se mettent en mouvement le 13 octobre 1837 (collab. w/studio, after H. Vernet)”, “Combat de l’habra” (collab. w/studio; after Horace Vernet”, “Siège de constantine: le ennemi repussé des hauteurs de coudat-ati (collab. w/studio; no.262)” and “L’assault final de constantine (collab. w/studio; no. 602.”

We have now discussed his religious and allegorical subjects. We have approached his historical and military paintings. All of these works show extreme brilliants, elegant drawing and grace, which reminds one of Pierre-Paul Prud’hon (1758 – 1823) but few artists have ever challenged his symbolic genre. Léon Basile Perrault, as few artists before him, was able to bring passion, integrity and honesty to his paintings. His own childhood was tethered to the pains of poverty. His children speak through their eyes and whisper from their tender souls of innocence, joy, disparity and warmth. Perrault’s paintings were a brave departure from the doe-eyed peasant children of his friend and teacher, William Adolph Bouguereau. They aren’t expressing sorrow but the reality of life through subtle expressions that gently reveal the subject’s inner thoughts, strength, youthful maturity, hope, dreams, and responsibility toward life and family.

Perrault first began to exhibit his symbolic genre paintings of peasant children at the Salon of 1864. The critics were overwhelmed by the passion, beauty and honesty rarely seen in genre subjects. He would continue to exhibit his popular symbolic genre paintings at the Salons in Paris receiving acclaim for all continents.

In 1868, Léon Basile Perrault would be invited to exhibit ” Give for My Little Chapel” at the Boston Athenaeum and in 1873, he was appointed to represent France as “diplôme d’honneur” to Vienna, Philadelphia (U.S.) and London.

In 1887, he was awarded Frances’s highest honor and knighted as Chevalier de la Légion d’honneur. This prestigious honor was followed by a Bronze metal in the 1889 Exhibition Universal and Silver medal at 1900 Exhibition Universal..

Perrault died in Royan, France in 1908, and was buried in the Montparnasse cemetery. After his death, the village of Poitiers commissioned a monument in his honor.

Farhat Art Museum. Beirut, Lebanon
Musée de Bordeaux: “Le depart”
Musée St. Croix, Poitiers: “Le vieillard et les trios jeunes hommes”
Portrait: “Mort de Velléda (esquisse)”
La Rochelle: “Saint Jean le précurseur and La Cigale”
Stuttgart Museum: “La petite soeur”
Musée Châteaudun: “Le Mobilisé
Brooklyn Museum, NY: Mirror of Nature”

Joseph M. Glasco (1925 – 1996)

Farhat Art Museum Collection

The painting by Joseph M. Glasco (American, 1925-1996) is oil on canvas, dated 1968, it measures 59 3/4 x 39 3/4 inches. It is part of the Farhat Art Museum

Butler Institute of American Art:

Joseph Glasco was born in Paul’s Valley, Oklahoma and grew up in Texas. In 1949, after his first one-person exhibition in New York, Glasco became the youngest artist represented at that time in the permanent collection of The Museum of Modern Art.

Glasco’s rythmical, all-over abstract compositions have often been linked with those of American artist Jackson Pollock. During the 1950s, Glasco became friends with Pollock; the two seemed to share an affinity for the element of chance in their work. In the late 1970s, Glasco first created his collaged canvases such as “Untitled #7″ . They were made from irregular scraps of canvas painted and glued unevenly onto an underlying abstract painting. According to Glasco, ” . . . there is a need in me to do sculpture and it somehow comes out when I paint and use material on top of material, . . . which is what sculpture is about.”

In this work, there is a dynamic play of contrasting warm/cool tones, evenly dispersed with no central focus. The trails of the paintbrush and the random shapes of color lead the eye in, out, and around this tightly woven network. The perception of this space changes dramatically as one experiences the work close up and, then, from a distance.