François Heaulmé

Artist : François Heaulmé  Oil on Canvas  Measures 180 x 120 cm Farhat Art Museum Collection..

Artist : François Heaulmé
Oil on Canvas
Measures 180 x 120 cm
Farhat Art Museum Collection..

François Heaulmé was born in the Haute-Savoie at Saint-Jorioz on 26th
September 1927. He studied classics at Thônes

Comprehensive School and
then in Paris at Lycée Michelet.
He frequented the Louvre from his early youth, where he “studied” painting
before the “motif”. The “motif” in this case was not an exterior subject to be
represented but the basic subject of all painting, in other words, painting itself.
This was a exercise in looking to understand what painting was really all about.
The painter enquires into/explores (Italians use the word indagare) the manyfaceted reality of the painters’ subject to make their secrets his own and to find
the alchemy of this particular substance.
Living first in Paris and then in the Champagne district, he settled in the Lot,
near Cahors, in 1967. That year he became interested, alongside oils on
canvas, in monotype techniques. This was to enrich his aesthetic resources
throughout his career, as can be seen in the remarkable series of pictures
inspired by Oscar Wilde’s Ballad of Reading Gaol.
After the Expressionist period of his early exhibitions, when he primarily used
full brush technique, François Heaulmé developed another style and a different
treatment of space, starting in the 70s. Canvasses from this period represent
theatrical settings, more or less empty or full of strange “beings”: men, animals,
and sometimes leaves.. As if disciplined, his brush bent to a new askesis. The
picture became dense and profound, and his touch emaciated. Flesh is certainly
still in his painting but less tactile; it vibrates in unison with subtle essentiality.
The painter explains what he means in The Pastrycook’s Dog, a text he wrote
for the retrospective in the Saint-Denis Museum (1986).
During the 80s and until now he has continued his quest for the essentials,
giving up the thick brushwork and brilliancy of his early years. The presence of
this essentialness can be seen in the light, even the grain of the animated
canvas, reanimated by the light virtuoso brushwork.
And twenty years later, the artist’s words are an echo of those used in The
Pastrycook’s Dog. The text entitled Twenty Years On was published in the
catalogue of the Henri-Martin Museum, Cahors (18th March – 6th June 2005).
Jeanne Heaulmé

François Heaulmé è nato nel dipartimento francese dell’Alta Savoia a Saint-Jorioz
il 26 settembre 1927. Studia latino e greco nella scuola di Thônes e prosegue gli
studi classici a Parigi presso il liceo Michelet.
Da habitué del Louvre fin da giovanissimo, egli “studia” la pittura direttamente
davanti al “modello”, il modello non essendo in questo caso l’immagine di un
modello esterno da rappresentare ma il soggetto essenziale de ogni pittura, vale a
dire la pittura in sé. Esercizio dello sguardo per capire, carpire ciò che ne
costituisce la vera sostanza. Il pittore esplora, indaga la realtà multipla della
materia dei pittori per impadronirsi dei loro segreti e trovare l’alchimia della propria
sostanza.
Vissuto prima a Paris e nella Champagne, prende dimora nel 1967 nel Lot, vicino
alla città di Cahors. Nello stesso anno affianca all’interesse per gli oli su tela quello
per la tecnica dei monotipi di cui arricchirà le risorse estetiche lungo tutta la
carriera come dimostra la notevole serie ispirata a The Ballad of Reading Gaol di
Oscar Wilde (2002-2004).
Dopo il periodo “espressionista” delle prime mostre nelle quali viene ancora
privilegiata la concretezza di un impasto imponente, palpabile, egli crea negli anni
’70 un’ altro stile e un altro spazio, in dipinti raffiguranti scenografie teatrali più o
meno vuote, o popolate di “esseri“ strani: uomini, animali, perfino foglie. Il pennello,
come disciplinato, si piega a una nuova ascesi. L’immagine è densa, profonda, e la
pennellata tenue tenue. Eppure trionfa la carne della pittura, ma essa, meno tattile,
vibra all’unisono di una sottile essenzialità. Il pittore riflette sulla propria poetica in
Le chien du pâtissier (Il cane del pasticciere), testo da lui scritto per la retrospettiva
del museo di Saint-Denis (1986).
Prosegue negli anni ’80 e fino a oggi la propria ricerca di una materia essenziale,
fatta della rinuncia alle pennellate luccicanti e cariche di pigmento di prima, la cui
presenza si nutre della stessa luce della grana della tela, animata, rianimata, dalla
leggerezza di un pennello virtuoso.
E venti anni dopo i discorsi dell’artista riecheggiano quelli affidati a Le chien du
pâtissier. Il testo Vingt ans plus tard verrà pubblicato nel catalogo della mostra del
Musée Henri-Martin a Cahors (18 marzo – 6 giugno 2005).
Jeanne Heaulmé
February 2005

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Tony Lee (1958- —- ) American Indian

Artist: Tony Lee (1958- ----- ) American Indian  Sculpture / Alabaster 12" x 17" x 10.50" (30.48cm x 43.18cm x 26.67cm) Created: 1993 Signed and Dated Farhat Art Museum Collection

Artist: Tony Lee (1958- —– ) American Indian
Sculpture / Alabaster
12″ x 17″ x 10.50″
(30.48cm x 43.18cm x 26.67cm)
Created: 1993
Signed and Dated
Farhat Art Museum Collection

Tony Lee, a Navajo, grew up in the New Mexico southwest. . His interest in art developed while watching his parents crafting in the art of Silversmith. His prized talent came as early as fourth grade when he won second place for his pastel drawing in the Shiprock Northern Navajo Fair. Since then he’s won first, second, third and honorable mention in stone and metal sculpture. He studied welding at Utah Technical College.
In May, 1987, he received his certificate in three-dimensional art and the following year his Associate of Fine Arts degree from the Institute of American Indian Arts (IAIA) in Santa Fe, New Mexico.
In August, 1988, he received a Certificate of Appreciation from the governor of New Mexico Garrey Carruthers. He was also featured in the 1986-87 Tenth Annual Exhibition The National Dean’s List and the 1988 edition of Who’s Who Among Students in American Junior Colleges.
Lee prefers to work in the field of fine arts and enjoys the challenge of exploring through mixed media.
Tony felt privileged to be Assistant Sculptor to the renowned national award winning artist, Allan Houser (Haozous), for the past five years until his passing in the autumn of 1994. At the present, Lee is employed by the Allan Houser Foundation.
Tony Lee has been involved with many selected exhibitions and has received a variety of awards and honors including First Place and Best of Show – “Midnight Chant” at the Fourth Annual Inter-Tribal Art Exhibition in Dayton, Ohio; Second Place – “Holy Mask” at the Tallasi Art Show in Tulsa, Oklahoma; First Place – “Flute Player & the Creation Dragon” at the Second Annual American Indian Art Festival in Dallas, Texas; Governor’s Choice Award – “Navajo Medicine Man” at the Inter-Tribal Indian Ceremonial in Gallup, New Mexico, to name only a few.

http://d27vj430nutdmd.cloudfront.net/23827/119706/2e6cef6d34c98d4994728f3f88a902b4e3a89d4e.pdf

http://d27vj430nutdmd.cloudfront.net/23827/119706/5fc66a72342be701b7db4299781f266ecc9fa465.pdf

Claude (Charles Claude) Buck (1890 – 1974)

Claude (Charles Claude) Buck (1890 - 1974)  oil on wood / dates 1925 25 x 30 inches  signed lower left  Titled: The Russian Sailers  Farhat Art Museum Collection.

Claude (Charles Claude) Buck (1890 – 1974)
oil on wood / dates 1925
25 x 30 inches
signed lower left
Titled: The Russian Sailers
Farhat Art Museum Collection.

A leading member of the avant-garde Symbolism* artists movement in Chicago, Claude Buck moved there from his birth place of New York City in 1919. He was known for his “fantastic, sometimes disturbing images with allegorical and literary themes” (Kennedy 97) drawn from writings of Edgar Allen Poe, operas by Richard Wagner, classical mythology and “New Testament” writings from the Bible. Some of these early paintings had nude figures rendered in Classical* style to express abstract themes developed through dream-like landscapes and disregard of relative scale or relatedness between the figures. These paintings had Luminist* elements achieved with light-toned paints worked with transparent glazes.

In the 1920s to earn money by gaining public favor and also expressing his increasing disdain for modernism, Buck did a number of hyperrealist* portraits, figures and still lifes. These proved popular and aligned him with the opponents of abstraction and their Society for Sanity in Art* movement whose headquarters were in Chicago.

Buck taught drawing and painting at the Chicago Academy of Fine Art from 1921 to 1926, and at the Art Institute, where he took over classes of George Bellows.

In New York City before coming to Chicago, Buck had a reputation as a radical artist. He took his first art training from his father, William R. Buck, from the time he was ages three to fourteen, and then until he was twenty-two, he studied at the National Academy of Design* where he was nicknamed “Kid Hassam” because his painting reminded viewers of that of Claude Hassam. Buck worked as a scene painter in the theatre and at the Willet Stained Glass company, and in 1914 began portrait commissions to earn money.

In New York, he founded a group named the Introspectives, which reflected his own problems with melancholy during that period. Members, holding their first exhibition at the Whitney Studio in 1917, were artists who expressed their personal feelings and experiences and included Raymond Jonson and Emil Armin. In this phase of his career, Buck was focused on Old World styles of Leonardo da Vinci, Ralph Blakelock and Albert Pinkham Ryder. In 1929, the Arts Council of New York voted him one of the top one-hundred painters in the United States.

In 1949, Buck and his wife, Leslie, moved to California to a studio-home in the Santa Cruz Mountains, and ten years later they settled in Santa Barbara where he died on August 4, 1974. In California, he was a member of the Carmel Art Association*, the Santa Cruz Art League* that he served as President in 1953,and the Santa Barbara Art Association.

His paintings are in the collections of the Santa Cruz Public Library; the Santa Cruz City Museum as well as the Spencer Museum in Lawrence, Kansas; the Brigham Young University Museum; and the Museum of Elgin, Illinois.

Sources:
Elizabeth Kennedy, Editor; Chicago Modern, 1893-1945, Terra Museum of American Art
Edan Hughes, Artists in California, 1786-1940
Peter Hastings Falk, Editor, Who Was Who in American Art

Alfred Jonniaux (1882 – 1974)

Alfred Jonniaux (1882 - 1974) Oil on canvas  Measures 30x40 inches  signed lower left Farhat Art Museum Collection

Alfred Jonniaux (1882 – 1974)
Oil on canvas
Measures 30×40 inches
signed lower left
Farhat Art Museum Collection

 

Alfred Jonniaux (1882 - 1974) Oil on canvas  Measures 50x40 inches  signed lower right Farhat Art Museum Collection

Alfred Jonniaux (1882 – 1974)
Oil on canvas
Measures 50×40 inches
signed lower right
Farhat Art Museum Collection

Portrait painter. Born in Brussels, Belgium on Nov. 21, 1882. Jonniaux attended Académie des Beaux Arts in Brussels. After serving in the Belgian Army during WWI, he established studios in both London and Paris. In 1930 his portrait of the Queen and King of Belgium established him as the court painter to the Belgian throne. Escaping from Nazi occupied France in 1941, Jonniaux and his wife settled in San Francisco. He also maintained a studio in Washington, DC where he painted such notables as President Roosevelt and Bishop Fulton Sheen. Schooled in the grand academic manner, his palette was tonal and dark with subjects meticulously rendered. Locally, his works were handled by the Hoover Gallery and Gumps. His home in San Francisco was at 1155 Jones Street with a studio at 712 Bay Street. His portraits of prominent people are found in private collections and public buildings throughout the U.S., South America, and Europe. He also painted character types of London and Paris such as charwomen, vendors, etc. Shortly before his death, he returned to his native land where he died on Feb. 4, 1974. Member: Royal Society of Beaux Arts (Brussels). Exh: London’s Royal Society of Portrait Painters, 1924; Salon des Artistes Francais, 1931; Venice Biennale, 1933; Society for Sanity in Art, 1945; SWA, De Young Museum, 1955; Baltimore Museum; Vose Galleries (Boston); Kennedy Galleries (NYC); Smithsonian Inst. Awards: hon. D.F.A., Calvin Coolidge College (Boston), 1958. In: Pentagon, Supreme Court, Capitol (Washington, DC); UC Berkeley; Mills College (Oakland); Northeastern Univ.; Mass. Inst. of Technology; Rockefeller Inst.; Children’s Hospital (Boston); Stanford Univ. Hospital; State House (Boston); Baltimore City Hall; State House (Columbus, OH). Ben; WWAA 1956-70.