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Tonight I attended Anne Gale's opening at Dolby Chadwick Gallery. I've always liked her paintings and was overall pleased with the show. Her Impressionistic style is enticing, but unlike the Impressionists, her colors are often cadaverous. There is also a propensity to her use of horizontal and vertical brushstrokes (see detail). Ann Gale Rachel with Blue, 2012 Oil on canvas 48" x 42" Ann Gale Robert with Skylight, 2012 Oil on canvas 54" x 44" Robert with Skylight, 2012 (detail) Finally, when examining her black, white, and grey series, I couldn't help but compare them to Giacometti's paintings. These were my very favorite from this series. I'm sure I will be highly influenced when I begin my newest painting excursion. Ann Gale Space Between, 2012 Oil and graphite on mylar on paper 14" x 11" Alberto Giacometti, Tête d’homme
Ann Gale is a leading American figurative painter living in Seattle. Her portraits were shown alongside other leading painters of the figure such as Lucian Freud, Nathan Oliveira and Alex Kanevsky in the 2011 exhibition "HEADS" curated by Peter Selz at her San Francisco Dolby Chadwick Gallery. The JSS in Civita, (Civita Castellana, Italy) recently announced that Ann Gale will be the 2015 JSS in Civita Master Class Guest-of–Honor. Ms. Gale will be in residence July 13th to August 3th. Here is a link for more information on her workshop in Italy. In a January 2013 review for Visual Art Source DeWitt Cheng wrote: “...Gale’s paintings, which require months and even years to complete, are aggregations of thousands of brushstrokes (Cézanne’s colored oil-paint patches and Giacometti’s feathery, tremulous graphite contours come to mind) that alternate, depending on the viewer’s distance, angle of view and degree of focus, between heavily textured natural surfaces (bark, lichen) and sharply observed studies of atmosphere and anatomy. Look very closely, and a myriad of tiny abstractions spring into view, with every square inch graphically charged with energy.” Another review in Art ltd. magazine by Richard Speer writes: “...Gale paints the kind of visages and physiognomies you might expect to see beneath Seattle’s heavy gray skies: ashen, Zoloft-ready men and women hunched before muted, putty-colored backgrounds—and yet the artist enlivens her subjects via twinkly, impressionistic brushstrokes that pop and recede with Hofmann-like push/pull. This is Gale’s viewpoint and paradox: a scintillating technique deployed in the service of an enervating sense of desolation.” ...When the painting is finished, the images do not always resemble their subjects in the standard realist sense—which suits the artist just fine. "Likeness doesn’t drive the work at this point; accuracy does," she explains. "But it’s not accuracy to the model; it’s accuracy to my perception, and that’s a very different thing."
Ann Gale is a leading American figurative painter living in Seattle. Her portraits were shown alongside other leading painters of the figure such as Lucian Freud, Nathan Oliveira and Alex Kanevsky in the 2011 exhibition "HEADS" curated by Peter Selz at her San Francisco Dolby Chadwick Gallery. The JSS in Civita, (Civita Castellana, Italy) recently announced that Ann Gale will be the 2015 JSS in Civita Master Class Guest-of–Honor. Ms. Gale will be in residence July 13th to August 3th. Here is a link for more information on her workshop in Italy. In a January 2013 review for Visual Art Source DeWitt Cheng wrote: “...Gale’s paintings, which require months and even years to complete, are aggregations of thousands of brushstrokes (Cézanne’s colored oil-paint patches and Giacometti’s feathery, tremulous graphite contours come to mind) that alternate, depending on the viewer’s distance, angle of view and degree of focus, between heavily textured natural surfaces (bark, lichen) and sharply observed studies of atmosphere and anatomy. Look very closely, and a myriad of tiny abstractions spring into view, with every square inch graphically charged with energy.” Another review in Art ltd. magazine by Richard Speer writes: “...Gale paints the kind of visages and physiognomies you might expect to see beneath Seattle’s heavy gray skies: ashen, Zoloft-ready men and women hunched before muted, putty-colored backgrounds—and yet the artist enlivens her subjects via twinkly, impressionistic brushstrokes that pop and recede with Hofmann-like push/pull. This is Gale’s viewpoint and paradox: a scintillating technique deployed in the service of an enervating sense of desolation.” ...When the painting is finished, the images do not always resemble their subjects in the standard realist sense—which suits the artist just fine. "Likeness doesn’t drive the work at this point; accuracy does," she explains. "But it’s not accuracy to the model; it’s accuracy to my perception, and that’s a very different thing."
A Lawren Harris painting at an Heffel art auction in Vancouver is expected to start at a bid of $1.2 million despite some locals struggling to name a single artist from Canada's iconic Group of Seven.
