Abby M Taylor Fine Art

Pinchas Maryan: A Visual Recorder of the Darkness of Humanity

Susan VP Barrett — Tue, 14 Feb 2012 21:58:23 +0000

World War II left its mark on Pinchas Maryan physically and artistically. L’Oiseau is a masterful comment on the nature of authority and power. Great artists such as Emile Nolde, Max Beckmann, and others knew how to create a more interesting canvas by not literally painting what they were trying to convey. Pinchas Maryan (formerly “Burstein born of Jewish heritage) was Polish but lived in America as well; miraculously survived the unspeakable inhumanity of the Auschwitz prison camps to tell his story with paint and brush. Maryan has created the single image of a brutish monster he impersonally referred to as a “personage” in the unlikely guise of a bird. This exaggerated and distorted figure is eerily reminiscent of Picasso’s portraits that have morphed into a haunting and threatening reminder of terror truly lived. Only time would soften such autobiographical paintings by Maryan, who once remarked, “It is myself, in whatever color, that I put on the canvas…” Discernable in the execution of the painting is the strong expressionist influence of such fellow contemporary artists as Bernard Dubuffet and the Cobra painter Karel Appel with its wild, gestural, almost cartoonish mouths and limbs ironically removed from the gracefulness usually associated with birds. The analogy of the bird figure thinly disguised the underlying message of fear captured in this portrait of true evil encountered face-to-face, a timely reminder of the disturbing images that make up today’s news stories. It is quite interesting to note that Maryan has a dedicated niche following and has achieved several strong auction records.

Andre Cottavoz: Deep In Paint 1950-72

Susan VP Barrett — Tue, 31 Jan 2012 21:00:58 +0000

The exhibition of paintings by Andre Cottavoz at Abby M Taylor Fine Art entitled Deep in Paint 1950-1972 is a dynamic body of works from the 1950’s through the 1970’s. They are exuberant in character, and their heavy impasto invite comparison to some of the most provocative artists of the 20^th century. Many of the portraits in this exhibition have the intellectual and psychological approach to be found in a Chaim Soutine portrait. They also predate Frank Auerbach’s approach to portraits which exhibit an existential approach. These paintings will fascinate as one attempts to discern their true content. A prolific painter who found a style that translated well in the commercial sense, Cottavoz was also a member of the Lyon School of New Figuration. In the tradition of the great French colorists such as Pierre Bonnard, Andre Cottavoz expresses in his paintings a trend amongst some post World War II French artists who belonged to the Lyon School of New Figuration to search for a strong light in their works. The painter Paul Philibert-Charrin addressed the press after the group’s first successful salon:

“What we are after is a salon for people under thirty. We belong to no school. Our only principle is to paint in the light, with allegiance to no technique.”

Such illumination was not only a product of the natural light but also an emanation of light that seemed to originate and to spring forth from the very canvas itself.

The gallery is pleased to present this artist’s work as it was done during a timeframe in France that is just beginning to be re-examined. He is an artist that has developed a strong Asian following and can appeal to contemporary or traditional collectors. A close friendship with the Japanese art dealer Kiyoshi Tamenaga whom Cottavoz met in 1957 opened doors to Japan for the artist. The works in this exhibition showcase the freedom that Cottavoz felt compelled to paint without restrictions or preconceived requirements.

On View Through Feb. 28th

Cleve Gray: Stream

Mia Forte — Sat, 31 Dec 2011 16:45:55 +0000

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Time to Change for 2012

Abby M. Taylor — Thu, 29 Dec 2011 19:49:41 +0000

I just clicked on a link which led me to read a statement from the fine American sculptor Albert Wein, “The great Egyptian sculptors didn’t even sign their name to a work of art. Monumental art, such as Chartres Cathedral is great because the art was more important than the artist”. It reminded me of what I enjoy most about the periods of art I deal in, which is that the ideas and history behind the works are often compelling, uplifting and thoughtful.

However, the statement above reflects nothing of our time, culture, politics, art or desires. This sounds cynical, but I believe we must adapt to new ways of living and directions in business. I maintain more than ever that the period of works I deal in are important to have by our side, but they must be presented and sorted out in new ways to be relevant to us. We have a new objective for 2012, and our next post in the New Year will begin to role out what that is and what it means for our clients. In 2011 we heard the media report on a lot of record setting prices for Clyfford Still, some Warhols and Richters but other than that, it was a “sea of confusion” for collectors as to where values are, who they should work with and trust, and where the markets are shifting. In 2012 we are going to sort this out for our clients with clarity. Our clients are going to see a marked change at Abby M. Taylor Fine Art, as we have taken close stock in the past two years of the market which has given us a clear grasp on the future of collecting. The past few years were necessary to “muck through”, and now we look forward in 2012 to a fresh new art world. We will miss many of the traditions of how it use to work but we know our clients are going to have fun with new venues as we “bring back the sexy” as Justin Timberlake has said, to collecting!

Johann Berthelsen: Snowy Sonatas

Susan VP Barrett — Wed, 07 Dec 2011 17:40:17 +0000

Johann Henrik Carl Berthelsen (1883-1972) is one of the most popular American Impressionist painters of New York City, best known for his exquisitely rendered cityscapes in the winters which were often compared to the works of Guy Wiggins and Childe Hassam. This time of year collectors are particularly apt to acquire one of these iconic oils to enhance their art collections. Such intense demand for these paintings has made it increasingly difficult to find such gems as Fifth Avenue, Looking South from 60^th Street or Brooklyn Bridge Tower, New York, N.Y. Ironically Berthelsen’s first artistic passion was music and not art. In 1901 Berthelsen emigrated from Copenhagen to America with his family to study voice at the Chicago Musical College owned by the Ziegfeld family during this golden age of opera. Eventually he combined his love of music with his love for art devoting himself fulltime his time to the rendering of his snowscapes which he referred to as “painted orchestrations” of Manhattan. Berthelsen portrayed life as it unfolded around him in the city daily with all its energy. These paintings are “time capsules” of a bygone era with their specific dress, locations, and habits of people long ago. His paintings enjoy wide audience appeal especially today as they are easy to understand and comfortable to live with.

End of Year Highlights

Abby M. Taylor — Mon, 21 Nov 2011 18:57:28 +0000

We end 2011 with a striking exhibition of abstract Post-War works offset by French Post Impressionist paintings. The best part of having a gallery is freedom to experiment and juxtapose works from different periods in ways that are energizing. This is hopefully inspiring to those visiting the gallery to do the same with their collection or home. For instance we have paired a rare Medardo Rosso bronze head of a young boy named “Gavroche” along with Nicolai Fechin’s painterly and austere head of an American Indian in front of abstract works by Georges Noel and Cleve Gray. All the abstract works we brought out are what we feel to be “classics”. The line-up for French Impressionist works includes a top-notch Armand Guillaumin, two sensational Louis Valtat still lifes along with great examples by Manguin, Vlaminck and Maufra.

Whenever we find that there is instability in the stock market, we bring out our best!

Raschen: An American Western Icon

Susan VP Barrett — Wed, 16 Nov 2011 16:31:54 +0000

Henry Raschen is regarded as one of America’s premier portrait and figure painters of Native American Indians who lived throughout California and the Southwest at the end of the 19^th century. Campfire Stories markedly resembles in style, subject matter and moonlight settings both The Basket Makers of Mendocino which holds the record auction price for Henry Raschen and The Interior of a Pomo Dwelling in the stellar Philip Anschutz Collection of Western Art. A strong and detailed composition this painting embodies all that is desirable in good American Western Art. Suffused with the rich tonalities of the old West, the night scene also tells the story of the challenging nomadic Indian life.

Such a great example of freedom and independence personified strikes a chord in today’s western art buyer and helps to explain the strong prices realized at the Coeur D’Alene Western Art Auction in Nevada this past July as well as the record-breaking price at Heritage Galleries just recorded for W.R. Leigh’s Home Sweet Home.

The Best Endures

Susan VP Barrett — Wed, 16 Nov 2011 16:12:51 +0000

On the same day that the Dow Industrial Average dropped almost 400 points, bidders at Sotheby’s Evening Contemporary Sale dropped over $315 million. Records were set for great abstract works by such artist icons as Clyfford Still, Joan Mitchell, and Gerhard Richter to name a few. The sale results fly in the face of a deepening recession, floundering international economies and loud Occupy Wall Street demonstrations. Even hardened and knowledgeable art experts and auction goers were stunned by the prices realized. One journalist referred to the sale as “white hot”. “White hot, “red hot”, or whatever “heat-related” term you choose, great art is an attractive commodity – one that you can hang on your wall and enjoy. Around the same time Leslie Hindman Auctioneers in Chicago was selling not a contemporary painting, but a traditional Hudson River School work by Jasper Francis Cropsey, Dawn of Morning, Lake George, for $660,000, setting an auction record as the fourth highest price ever paid for a work by the artist. What is happening here? It is clear that there are people who have money and apparently lots of it who are willing to spend it. They feel that art is a safe asset class –if the right works of art are purchased-and that is the key phrase. Currencies erode, stock prices rise and fall, but the crème of the crème, the best of the best in art endures and seems to grow in value.

Color and Rhythm Part II: Paintings by Ralph Della-Volpe

Mia Forte — Wed, 09 Nov 2011 18:56:00 +0000

October 15 – November 15, 2011

Jean-Michel Atlan: The Next Modern Master?

Abby M. Taylor — Mon, 07 Nov 2011 19:14:18 +0000

There are some artists who present themselves like a “Modern Master” without having achieved the stature of a Picasso, Miro or Kandinsky. However, Jean-Michel Atlan’s work always impresses me as the work of a modern master partially because his style is so strong and so very much his own. To me he is similar to Egon Schiele. Kandinsky and Picasso were at the forefront of movement, periods and stylistic changes. Egon Schiele did not start a movement; yet he simply had a very personal vision and style and Atlan had that as well. He created a body of work which does not alter greatly over time, as it is simply a running expression of something that was very much inside of him.

He has brought some close to Modern Master prices, as he has achieved over $700,000 at auction. I think with more time for museums and galleries to explore and expose the work that this is an artist who will rise in recognition and value. I also think it is an artist to which the Asian and other new players in the market will be attracted.

Jean Michel Atlan was born on January 23, 1913 in Constantine, Algeria. In 1930 he moved to Paris to study philosophy at the Sorbonne. However, in 1941 he launched himself as an essentially self-taught artist. The publishing of his poetry and its rhythmic elements had led him next to experiment with painting. Unfortunately he was arrested in 1942 for his Jewish heritage and for his political activism as part of the French Resistance or Underground. After the war and the occupation of Paris ended, Atlan had his first exhibition at the Gallerie Arc en Ciel. In 1946 he became a part of the CoBrA art group when his own studio on Rue de la Grand-Chaumière became a gathering place for the group. The Cobra Group was formed by Karel Appel, Constant, Corneille, Christian Dotremont, Asper Jorn, and Joseph Noiret, who all espoused a complete freedom of form and color in art and who opposed the Surrealism movement. As a result of the influence of the Cobra group Atlan’s paintings at this point in his career consisted of works that displayed abstract and fanciful shapes that resembled animals. In 1955 his works which included Le Kahena, and Composition were exhibited at the Gallerie Carpenter. However, by 1956 Atlan had found his own particular style which consisted of strong, black consolidated lines that enclosed pastel colored areas of color. During the 1950’s Atlan’s works were well received in France, England, Japan and the United States. Atlan died of cancer in Paris on February 12, 1960 and was buried in the Montparnasse Cemetery. At the time of his death Atlan was considered an important member of the “Nouvelle École de Paris”.