Winslow Homer’s mother was an accomplished nature watercolorist and encouraged her son to pursue a career in art. She taught him the basics of watercolor, a medium he used sporadically until the summer of 1873 when he spent two months in Gloucester, Massachusetts, experimenting with the medium and considering it seriously as an art form. In the summer and fall of 1878, he painted at the Houghton Farm in the Hudson Valley at the invitation of his patron Lawson Valentine. While there he produced 50 watercolors.
Among them is a watercolor and gouache, A Shady Spot, Houghton Farm,in which he portrays a young shepherdess taking a break from the hot summer sun in the shade of a tree. In a turbulent time for the country, Homer painted bucolic scenes recalling the past. The young girl is almost silhouetted against the sunlit field and Homer paints splashes of white gouache to indicate dappled sunlight on the tree and on her dress. Even painted in almost impressionistic dabs of color with little detail, the painting invites the viewer to enter the scene.
33 Contemporary, Give Me Shelter, oil on board, 40 x 60”, by Judith Peck.
David Attenborough wrote, “Ancient trees are precious. There is little else on Earth that plays host to such a rich community of life within a single living organism.”
Bryony Bensly depicts the denizens of the forest and the trees in her painting Tree Huggers and writes, “A once derogatory term, ‘tree huggers’ is an acknowledgement of our deep dependency, immense joy and ode to childhood days of treehouses, climbing and hours/days/weeks spent in nature...And to all the other creatures that love them, and need them, as much as us.” She also refers to the unfathomable inner workings of trees, citing their role as the “lungs of the earth.”
The figure in Judith Peck’s painting, Give Me Shelternestles among the roots of a sycamore tree. She writes, “I am obsessed with a certain ancient sycamore tree living by a river near me. At the minimum, I visit it weekly during every season. Recently it crept into my subconscious and I began to paint it. I’ve tried to paint its dignity and majesty as well the small deaths and growth, the resilience that is apparent in the face of drought, flooding, erosion, pollution and wind conditions. I see this tree as a microcosm of earth as well as a symbol of our lives. In my paintings I often have a model interact with the tree, trying to mirror its shape, using it for protection and generally connecting with the power of its form.”
Clockwise from top left: Altamira Fine Art, Tangled - Tango - Polkadot – Wrangle, oil on canvas, 72 x 48”, by Geoffrey Gersten; Altamira Fine Art, The Arrival, oil on canvas, 48 x 60”, by Dennis Ziemienski; Anne Neilson Fine Art, Seated Nude with Red and Blue, oil on panel, 39 x 39”, by Jacob Dhein.
The figures in all three paintings seek the protection of trees which we now know need the protection of humans. On a recent trip to Ireland, I Iearned that after the last ice age, 80 percent of the island was forested. At the turn of the last century, it had dropped to one percent. Today, with conservation and replanting, the coverage is 10 percent. Bryony Bensly notes that “Bhutan is leading this world in negative CO2 emissions, largely due to the country’s vast forest, so let’s get planting!”
Continue reading through this special section dedicated to figurative artworks for more creative insights from artists specializing in the genre and the top-tier galleries who represent them.
“The figure has been at the forefront of art history for centuries in varying shapes and sizes, and is continuing to evolve within contemporary art,” says Anne Neilson Fine Artgallery director Logan Sutton. “It is a beauty to see the way people can render the human figure in such different styles.” Sutton notes that the gallery continues t0 represent artists like Jacob Dhein, whose figurative paintings employ both contemporary and traditional techniques.
Top: Winslow Homer (1836-1910), A Shady Spot, Houghton Farm, 1878, watercolor and gouache on paper, 7 x 8¼”; Anne Neilson Fine Art, Simpatico, mixed media on canvas, 48 x 48”, by Juniper Briggs. Bottom: Altamira Fine Art, I Love You, oil on canvas, 40 x 30”, by Erica Vhay; Meyer Gallery, Tree Huggers, oil, 30 x 30”, by Bryony Bensly.
“[Dhein's] paintings possess an abstract quality when viewed at a close proximity, but as the observer steps back, the painting shifts more representational, constantly pushing the boundaries on his modern impressionistic interpretation,” Sutton adds. “Juniper Briggs’ work is ever-evolving into masterful figurative works, while still maintaining references to her heavy influence of cubism. Through her figures, she conveys her interest in the human spirit, navigating feelings such as vulnerability, longing and hope. Anne Darby Parker’s richly textured figures pull from everyday elements as well as influences from Les Fauves alike. The contemplative figures are painted en plein air and leave the viewer with a sense of intrigue.”
Darryl Daniels, Cascading Pianos, acrylic on canvas, 24 x 24”
When looking for figurative works to collect, Sutton sugestss “seeking artists such as these that are constantly broadening the canon of contemporary art and vary in style with their own unique voice.”
In their distinctive registers as painters, Altamira Fine Art artists are exploring figurative subjects with freshness and wonder. “At this moment, Erica Vhay finds herself thinking less about the paint and more about the process,” explains gallery owner Carrie Wild. “She is letting her steps surface; washes have always been an important initial step in her process, but never so evidenced in the finished painting. Geoffrey Gersten embodies the dichotomy of precision and intuition inherent in his art. Long attuned to geometric exactitude, he also nurtures an affinity for experimentation. Tapping into his former life as an acclaimed illustrator, Dennis Ziemienski cultivates telling details in his compositions. By his design, each snapshot captures a dichotomy of perception. Profound in retrospect, the compositions feel casual in the moment.”
William A. Schneider, Drink from My Cup, oil on linen board, 20 x 16”
Artist Darryl Daniels love exploring the representation of the anatomical figures in various contexts, whether it’s in athletics, nature, romance or music. “I began experimenting with the idea of fusing my figurative approach with series based around jazz musicians in the early 1990s,” he says. “Jazz as an art form, which celebrates the individual and collective contributions, has been an ideal platform for my approach to spatial composition, color, perspective and the interplay between figures in aesthetic sense. As much as I love the music, each piece that I’ve produced in this series has been the result of an idea that revealed in sketch form, which I find inspiring, interesting or challenging on a visual level—first and foremost.”
Eileen Corse was determined to paint in such a way as to have her figurative works be unique and recognizable. “I have achieved my goal with my Water series of paintings, which are unique, individual and recognizable—everything an artist strives for in a body of work,” she explains.
Clockwise from top left: Anne Neilson Fine Art, Tilt of Grace, oil and collage on canvas, 20 x 16”, by Anne Darby Parker; Darryl Daniels, Round Midnight in Cerulean Square, acrylic on canvas, 24 x 28” ; Darryl Daniels, Ascencion, acrylic on 120 coldpress, 32 x 20; Eileen Corse, Dainty Diver, oil on canvas, 60 x 36”
Corse’s art evokes emotions from viewers who ponder on their youth and the pure, unabashed fun they had in a pool or on the beach. “Those with small children or grandchildren immerse themselves and see their kiddos in my works,” she continues. “In an art world that tends to focus more on a negative narrative, my art brings joy and happiness to people. Often, viewers comment that my art is happy.”
James Perry’s art is a reflection of Boston’s spirit and diverse communities. As an award-winning artist mentored by the world-renowned Paul Goodnight, Perry’s journey is a vibrant tapestry woven from the rich cultural influences unique to his hometown. His work, displayed in prestigious galleries and embraced by influential figures such as Ruth E. Carter and Mayor Michelle Wu, captivates audiences with its emotive power and meticulous attention to detail. His work is showcased in prestigious galleries and even alongside the iconic Obama portraits at the Museum of Fine Arts Boston.
To collectors of this genre, “I advise you to seek art that not only adorns your space but also moves your soul,” he notes. “[My] creations invite you into a world of raw human experiences and a deep connection to the diverse communities of Boston. Choose pieces that tell stories and evoke emotions.”
James Perry, Baby Eyes, charcoal and graphite on paper, 14 x 11” ; Larry Pierce, Reena in Repose, acrylic on panel, 36 x 24”; Eileen Corse, Bridge Bouncers, oil on canvas, 48 x 36”
New York native Larry Pierce is a Vietnam-era Navy photographer and a graduate of The School of Visual Arts in New York, where he studied with such notable artists as Louise Bourgeois, Jennifer Bartlett and Jonathan Borofsky. After 25 years working in advertising and illustration, he began his career as a professional artist after moving to Boston in 2001. His work has been exhibited throughout the United States and his eclectic style beautifully encapsulates moments, emotions and spirituality. Pierce offers a wide range of paintings and drawing styles that have universal appeal to collectors. The viewer can see these elements perfectly displayed in figurative pieces like Reena in Repose, pictured within this section.
Eileen Corse, Cannonball Contest, oil on canvas, 48 x 60”
Connected to both Pierce and Perry, is Paul Goodnight, whose artwork is a vibrant symphony of influences and experiences, born from the rich tapestry of his life’s journey. From his early days in Chicago, through his service in the Vietnam War, to his return to Boston, Goodnight’s art reflects a diverse cultural blend that transcends borders. Mentored by the renowned John Biggers, he has traveled to distant corners of the world, from Africa to Russia and South America, gathering inspiration at every turn. Goodnight’s work, gracing films like Gone Baby Gone and Ghost, embodies a remarkable blend of cultural heritage and personal history.
“To collectors seeking art of this genre, I offer this advice: Invest in pieces that not only beautify your space but also touch your heart,” the artist shares. “Seek art that resonates with your soul, for within those brushstrokes and colors, you’ll find a profound connection to the human experience.”
Paul Goodnight, No Knee Grows Hair, oil on canvas, 40 x 50” ; William A. Schneider, Reckless Abandon, pastel on archival board, 24 x 18”
One of William A. Schneider’s favorite models, Kelly, was the muse who inspired both the artist’s figurative paintings seen in within in this section. “[She’s] a fashion model and consummate actress,” Schneider explains, “and each time the shutter clicks, she changes her pose and expression! Reckless Abandon was originally painted as a step-by-step demonstration for the October 2017 issue of the Pastel Journal. I envisioned her as a glamorous Hollywood starlet in the 40s living with reckless abandon. I also asked Kelly to play Circe, the mythological witch-goddess. Spurned by Ulysses, she used a magic potion to turn his men into swine. [My painting] Drink from My Cup shows the moment she lures a hapless sailor to drink from her poisoned chalice.’’
When collecting for the figurative genre, Schneider notes that “it takes a confident collector to purchase a painting of ‘someone they don’t know’—even though the great art museums are mostly filled with figurative work. Some astute connoisseurs owned those masterworks before they found their way into the museums!” —
Featured Artists & Galleries
33 Contemporary
1029 W. 35th Street, Zhou B Art Center, Chicago, IL 60609
(708) 837-4534
www.33contemporary.com
Altamira Fine Art
7038 E. Main Street
Scottsdale, AZ 85251
(480) 949-1256
172 Center Street, Ste. 100, Jackson, WY, 83001
(307) 739-4700
connect@altamiraart.com
www.altamiraart.com
Anne Neilson Fine Art
721 Governor Morrison Street, Suite 180, Charlotte, NC 28211
(704) 496-9181
logan@anneneilsonfineart.com
www.anneneilsonfineart.com
Darryl Daniels
info@darryldaniels.com
www.darryldaniels.com
Eileen Corse
eileencorse@gmail.com
www.eileencorse.com
James Perry
(774) 386-3000
james@jperryfineart.net
www.jperryfineart.net
Judith Peck
www.judithpeck.net
Larry Pierce
(617) 905-1864
africanwintergroup@gmail.com
www.africanwinterstudio.com
Meyer Gallery
225 Canyon Road, Ste. 15, Santa Fe, NM 87501
(505) 983-1434
www.meyergalleries.com
Paul Goodnight
(857) 222-9866
colorcircleart@gmail.com
www.paulgoodnight.com
William Schneider
william@schneiderart.com
www.schneiderart.com
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