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Exasperated by the demands of his sitters, Sargent proclaimed portraiture to be “a pimp’s profession” and by 1907 resolved never to accept another oil paintings portrait commission. During his later years, the fine art reproduction artist devoted himself to creating decorative murals for public buildings and to oil paintings watercolors and small canvases purely for pleasure.

In 1911 Sargent vacationed with his sister’s family in Switzerland, where he painted Nonchaloir (“nonchalance”). A casual character study instead of a formal oil paintings portrait, it depicts Sargent’s niece Rose-Marie Ormond Michel, whom he nicknamed “Intertwingle” because of her agile, intertwined poses. Influenced by the “fine art for art’s sake” movement, the oil painter unified the color scheme with the amber light of a lazy afternoon. The straight lines of the posh furnishings in the Swiss hotel accentuate the swift brushstrokes used to delineate his niece’s fingers, hair, cashmere shawl, and satin skirt.

Late in life, Sargent also returned to landscapes oil paintings, working almost exclusively outdoors. He spent the autumn of 1908 relaxing on the Spanish island of Majorca. Valdemosa, Majorca: Thistles and Herbage on a Hillside is a tour de force of Sargent’s brushwork. Against the sandy soil, the sunny highlights that gleam from roots and twigs create abstract networks of white paintings.

Although best known for his fashionable formal portraits, Oil paintings, Fine art gallery reproductions John Singer Sargent was equally adept at landscapes paintings and scenes of daily life. His early fame and astonishing facility with a brush prompted the American expatriate novelist Henry James, his close friend, to comment on “the slightly 'uncanny' spectacle of a talent which on the very threshold of its career has nothing more to learn.”

Another of Sargent’s friends was the French impressionist Claude Monet, with whom he shared a love of painting en plein air, or out-of-doors. Street in Venice, created during the second of Sargent's numerous visits to that city, was done on the spot. Mediterranean sunshine penetrates the narrow confines of the Calle Larga dei Proverbi, a back alley near the Grand Canal.

The emptiness of the silent street implies that Sargent depicted siesta, the time when many Italians rest for three hours at midday. One of two men conversing in the shadows is distracted by a girl strolling alone. Her skirt’s rustling hem and shawl’s flowing fringe are rendered with indistinct strokes that suggest her rapid pace will soon carry her beyond his lingering gaze. This combination of technical skill and emotional intensity goes far toward explaining why Sargent received more honors and medals than any previous artist, European or American.

Born in Charlotte, North Carolina, seat of Mecklenburg County, on September 2, 1911, Romare Bearden, an oil painters grew up in a middle-class, African American family. Both parents Bessye and Howard were college-educated, and it was expected that Romare would achieve success in life. About 1914, his family joined the Great Migration of southern blacks to points north and west. Although slavery had been abolished during the early part of the 20th century, Jim Crow laws kept many blacks from voting and from equal access to jobs, education, health care, business, land, and more. Like many southern black families, the Beardens settled in Harlem section of New York City. Romare would call New York home base for the rest of his life.

Throughout his childhood, Bearden spent time away from Harlem, staying with relatives in Mecklenburg County, Pittsburgh, Pennsylvania, and Lutherville, Maryland. Bearden's memory of these experiences, as well as African American cultural history, would become the subjects of many of his works. Trains, roosters, oil paintings, fine art gallery reproductions, cats, landscapes, barns, and shingled shacks reflected the rural landscape of his early childhood and summer vacations. Scenes of his grandparents' boardinghouse, bellowing steel mills, and African American millworkers recalled his Pittsburgh memories.

In Tomorrow I May Be Far Away, Bearden reflects on his childhood memories of Mecklenburg County. There is a focus or elevation of the everyday that becomes a frequent motif in both his North Carolina and Harlem imagery. Bearden employed a variety of media to create this collage, including cuttings from magazines, sample catalogs, wallpaper, art reproductions, oil paintings and painted papers. Parts of the surface have also been reworked with spray oil paint and charcoal or graphite. Over the next thirty years, Bearden's collages would continue to evolve, employing flat areas of color defined by cut papers as wells as more patterned or textured areas created by cuttings of preprinted images, hand-painted papers, foils, and fabrics. Surface manipulation was also an ongoing concern for the oil painting artist, who explored news ways to rework the surface, including the use of bleach or peroxide, sandpaper, and perhaps even an electric eraser.

Although Bearden is best-known for his work in collage he achieved success in a staggering array of media, including watercolor, gouache, oil, painting, drawing, monotype, edition prints, photography, designs for record albums, costumes and stage sets, book illustration, and one known wood sculpture.

As a freelance reporter sketching the Civil War’s front lines for newspapers and magazines, Winslow Homer developed an incisive candor. His debut as an oil painter occurred in the spring of 1863, with the enthusiastically reviewed exhibition of Home, Sweet Home. Two Union infantrymen pause while a military band plays the familiar ballad, reminding them poignantly that their campsite is neither sweet nor home. The conflict of 1861-1865 changed American society profoundly. With men gone to combat, women managed family businesses and assumed professional roles, such as teaching. These newly independent women, working or relaxing, figure prominently in Homer’s postwar subjects.

Homer treated many of his favorite motifs in serial format, creating variations in different media. The Dinner Horn depicts a farm maid who also appears in two other oil paintings, Original oil paintings, oil painting on canvas, fine art gallery reproductions as well as in an illustration in Harper’s Weekly. A crisp autumn sunshine is imparted by the bright shadows on her dress and the colorful flutter of leaves blowing across the grass. As she summons the field hands for their meal, a gust of wind reveals a provocative bit of petticoat and her shapely ankles. The Red School House, showing a solemn young teacher clutching her book, is among his many scenes of country schools. As one personification of a season, Autumn alludes to fashionable attire and, thus, to modern life.

In 1876, Eakins joined the faculty of the Pennsylvania Academy of the Fine Arts. Painted the same year, Baby at Play depicts Ella Crowell, the artist’s two-and-one-half-year-old niece, in the side yard of his own Philadelphia home. Ella is totally absorbed with alphabet blocks, having cast aside her ball, doll, and toy horse and cart.

In accord with late nineteenth-century attitudes about education, she has progressed from infantile pursuits to more advanced stages of development. By stacking up the blocks, the child practices language and motor skills. Eakins communicates his niece’s serious concentration by arranging her into a solid, pyramidal mass that is nearly life-size and aligned geometrically with the toys, blocks, and paved walk. The brown bricks show Eakins' expertise in mechanical drafting and, with the dark shrubbery, set off Ella’s sunlit figure.

Eakins’ skill in modeling with light and shadow also marks three small oil studies in the National Gallery of Art. These quick life sketches of African-American subjects are the same size as their final pictures. Two relate to Negro Boy Dancing of 1878, a watercolor now in New York’s Metropolitan Museum of Art. For an oil painting of 1908 now in The Brooklyn Museum, Eakins made The Chaperone, in which an old servant knits while a young girl poses nude for a fine art sculptor.

In the decade following the Civil War, rowing became one of America’s most popular spectator sports. When its champions, the Biglin brothers of New York, visited Philadelphia in the early 1870s, Thomas Eakins made numerous paintings and drawings of them and other racers. Here, the bank of the Schuylkill River divides the composition in two. The boatmen and the entering prow of a competing craft fill the lower half with their immediate, large-scale presence. The upper and distant half contains a four-man rowing crew, crowds on the shore, and spectators following in flagdecked steamboats.

Himself an amateur oarsman and a friend of the Biglins, Eakins portrays John with his blade still feathered, almost at the end of his return motion. Barney, a split-second ahead in his stroke, watches for his younger brother’s oar to bite the water. Both ends of the Biglins’ pair-oared boat project beyond the picture’s edges, generating a sense of urgency, as does the other prow jutting suddenly into view.

The precision of Eakins’ style reflects his upbringing as the son of a teacher of penmanship. He studied under academic artists in Paris and traveled in Europe from 1866 to 1870. To further his understanding of anatomy, Eakins participated in dissections at Philadelphia's Jefferson Medical College in 1872-1874.

Albert Pinkham Ryder, though a near contemporary of both Homer and Eakins, was a very different sort of oil painter. Hermitlike and visionary, he explored biblical, literary, and mythological themes. His Siegfried and the Rhine Maidens was inspired by Richard Wagner’s The Ring of the Nibelungs. Ryder claimed, “I had been to hear the opera and went home about twelve o’clock and began this picture. I worked for forty-eight hours without sleep or food.” Nevertheless, when he exhibited the canvas in New York in 1891, he had been revising it for three years.

Lit by an eerie moon, the Rhine River nymphs recoil in horror when they realize that the German warrior Siegfried possesses their stolen, magic ring. After he refuses to return it, they predict that he will die violently. To evoke impending doom, Ryder devised tortured shapes, crusty textures, and an unearthly green color scheme.

John Sloan, once a newspaper illustrator in Philadelphia, became a painter at the urging of Robert Henri and moved to New York. The apparent spontaneity in Sloans City from Greenwich Village is deceptive. Noting it was “painted from memory,” Sloan made more preparatory studies for this canvas than for any of his other pictures.

One pencil sketch shows the elevated train tracks at the slight angle they would create from a sixth-story rooftop. In the final oil painting, the railway is pushed down at a steeper perspective, opening the foreground into a vast space of reflections off wet pavement. The soaring Woolworth Building dominates the distant skyscrapers. Since that shimmering vision actually would not have been visible from this low level, the skyline derives from other studies done at higher elevations.

Sloan described the personally meaningful site: “Looking south over lower Sixth Avenue from the roof of my Washington Place studio, on a winter evening. The distant lights of the great office buildings downtown are seen in the gathering darkness. The triangular loft building on the right had contained my studio for three years before.”

This idyllic scene illustrates an episode from Edmund Spenser’s Faerie Queene, published in 1590. The lengthy Elizabethan poem concerns a Christian soldier’s search for Truth. Early in his quest, the knight encounters two lovely personifications of virtue. Faith, gowned in purest white and surrounded by a halo of divine light, holds a chalice with a serpent she need not fear. Hope, garbed in heavenly blue, carries a small anchor that recalls the biblical mention of hope “as an anchor of the soul.” To quote Spenser, the Red Cross Knight himself wears “on his brest a bloudie Crosse.”

The models were the oil painting artist’s own handsome children, now seventeen years older than when they posed for The Copley Family. John, the boy hugging his mother in that oil painting, is the Red Cross Knight. Elizabeth, the daughter standing in the center of the family portrait, is Faith, and Mary, the infant on the sofa, is Hope. The Red Cross Knight, Copley’s only oil painting inspired by literature, was shown at the Royal Academy in 1793.

On 7 April 1778, William Pitt, the first earl of Chatham, rose to speak in the House of Lords. In the midst of debate about the colonial revolutionaries, he suffered a stroke. The earl’s death removed one of Britain’s leading political moderates during the critical years of the American War of Independence. This small oil painting is Copley’s preliminary compositional sketch for a large oil on canvas now in the Tate Gallery, London.

In proper academic procedure, Copley first used browns and grays to work out the overall distribution of the scene before considering the color scheme and details. Sunshine pours in from a roundel window over the throne canopy, spotlighting the stricken Pitt. The pencil lines drawn over this study create a proportional grid called “squaring” that enabled the fine artist to transfer and enlarge the fine art reproduction design. In 1781, after two years’ work, Copley installed his ten-foot-wide picture in a pavilion and charged admission to his popular one-work show. How Copley had persuaded fifty-five noblemen to sit for their oil portraits became the talk of British society.

This gripping pictorial drama resulted from a collaboration between Copley and Brook Watson, a former English sailor. When Watson was fourteen in 1749, he had been attacked by a shark while swimming in the harbor at Havana, Cuba. The blood in the water proves that Watson already has lost his right foot. Rushing to his aid, his shipmates register many different reactions, ranging from heroism to horror. Watson fails to catch a rope hurled by a West Indian. Meanwhile, boathook poised, a harpooner takes aim at the man-eating monster. Copley grouped the rescuers into a dynamic composition that forms the silhouette of a sharply thrusting triangle.

Brook Watson bequeathed the oil painting to a London orphanage, where it conveyed the reassuring moral that anyone can succeed through “activity and exertion”—as stated by the biographical plaque on the original frame. In spite of being orphaned himself and also disabled, Watson had earned ennoblement as a baronet.

The depiction of a noteworthy event in an ordinary person’s life was an American innovation. European oil painters normally restricted such harrowing scenes to saints' martyrdoms. This unusual oil on canvas caused a sensation that assured Copley’s international reputation after its exhibition at the Royal Academy in 1778. A full-scale replica that the artist painted for himself is in Boston’s Museum of Fine Arts Reproductions.

An instructor at the Boston Museum school, Frank Benson created lovely daydreams of women and children frolicking outdoors. One of his daughters recalled their family vacations in North Haven, Maine: "Papa would often have us put on our best white dresses and then ask us to sit in the grass or play in the woods. We thought it was so silly and the maids made such a fuss when they saw the clothes afterwards."

These modeling sessions resulted in such idyllic works as Summer of 1909, now in the Rhode Island School of Design, Providence. In that breezy grouping, Margaret Strong, a seventeen-year-old neighbor, looks uphill toward three other girls who, in turn, converse with her or peer out to sea. Delighted with Benson's art portrayal of their daughter and also anticipating her forthcoming marriage, Margaret's parents asked him to paint her individually just as she had posed in Summer.

In a very daring maneuver for a commissioned portrait, Benson left Margaret's face still turned away from the sun. He did modify the design by raising the beach line of the distant cape so that, here, it would not cut across her profile. Her striking, coppery red hair frames her head, keys into the warm tan grass, and complements the blue Atlantic and the cool, iridescent shadows. Above all, the dazzling virtuosity of Benson's rapid brushwork captures attention.

Peale was a major figure in both art and science during America's revolutionary and federal periods. In 1786 he converted the painting gallery attached to his Philadelphia home into a museum of "Natural Curiosities." Peale's enthusiasm for learning was such that he named most of his seventeen children after famous scientists or painters.

In 1788 the Lamings of Maryland commissioned Peale to paint this double portrait. In addition to working on the picture, which incorporates a "view of part of Baltimore Town," Peale studied natural history and collected specimens while in residence at the Lamings' suburban estate. Peale's diary records his progress from 18 September, when he "sketched out the design" after dinner, to 5 October, when he added the finishing touches "and made the portrait much better."

Peale cleverly devised a leaning posture for the husband so that his portly figure would not overshadow his petite wife. This unusual, reclining attitude binds the couple together and tells of their love. The spyglass and exotic parrot may indicate Laming's mercantile interest in foreign shipping. Mrs. Laming's fruit and flowers, although symbols of fertility, might refer to her own gardening activities. The detailed attention to the bird, plants, scenery, telescope, and complicated poses attests to Peale's encyclopedic range of interests.

The history of Western art painting represent an incessant, however disrupted, custom from ancient times. Until the early on 20th century it relied mainly on representative and Classical motif, after which time more merely theoretical and abstract modes gained favor.

Originally serving religious patronage, Western art painting later on found audience in the nobility and the middle group. From the Middle Ages throughout the resurgence art painters works for the church and a rich aristocracy. Start with the Baroque era artist received confidential commission from a more cultured and rich middle class. By the 19th century western art painters became unconventional from the demands of their benefaction to only depict scene from mythology, portraiture, religion or history. The thought "art for art's sake" began to find appearance in the work of western art painters like John Constable, Francisco de Goya, as well as J.M.W. Turner.

Developments in Western art painting in history parallel those in Eastern painting, in common a few centuries later. Indian art, Chinese art, African art, Islamic art as well as Japanese art each had momentous influence on Western art painting.

Japanese Art painting is one of the oldest as well as most highly advanced of the Japanese arts, around a wide range on kind and fashion. As with the olden times of Japanese arts in common, the history Japanese painting is a lengthy history of synthesis and rivalry among resident Japanese aesthetics and adaptation of import thoughts. Ukiyo-e, "cinema of the floating earth", is a sort of Japanese woodblock prints and fine art paintings shaped between the 17th in addition to the 20th centuries, featuring motif of landscape, the theatre and delight quarters.

It is the chief artistic type of woodblock art printing in Japan. Japanese print making especially from the Edo period which exerts enormous influence on Western art painting in France through the 19th century.

Cerulean Fine Art Gallery at 202 Water St. in Hallowell announces an exhibit featuring the photographic works of Hallowell artist Nancy Jacob. The show, "Northern Maine Woods Trails in Search of Dri-Ki Tribe Artifacts," opens October 10 and runs through November 1. An opening reception will be held Friday, October 10 from 5-8 p.m. In addition, Ms. Jacob will give a talk on Saturday, October 18 at 3 p.m. All events are free and open to the public. For more information call 626-9009 or visit www.ceruleanart.com.

Jacob is known for her large format photography, particularly of the Northern Maine Woods, where she documents the wood remains following a harvesting, commonly referred to as "Dri-Ki". The scale of Jacob's work invites the viewer into the space and encourages one to think critically about the resulted landscape of this process. Jacob states that, "as an artist-what I found while sitting amidst-what I call the `Dri-Ki Tribe' is a peace and solace found no where else." Jacob said, "When I first laid eyes on this part of Maine, I was awestruck and remain so."

Jacob uses a printing process called Giclee, which she uses to print her fine art photographs. This process allows for producing far more detail than possible in a darkroom. Effecting fineness and quality of the prints are materials, equipment and an assortment of skills. All of Jacob's prints are in limited editions of 200, signed and copyrighted. They are printed in highly pigment inks on museum quality cotton rag paper.

"Nancy's work is breathtaking and engaging - one wants to know more, and sees more with further study of each intricately detailed imagery," states Helene Farrar, propietor of Cerulean.

Cerulean also announces their Fall 2008 workshop schedule: Pre-K Art Play for Children ages two to five on Wednesday mornings at 9:30 and Saturday Morning 'Art School for Kids' from 11-12:30, specially designed for school aged children. Additionally, there are adult workshops in Encaustic Painting, Gelatin Printmaking, Drawing for the True Blue Beginner, and Silk Painting. For more information visit www.ceruleanart.com or call 626-9009.

ABOUT CERULEAN

Conceived by artists, mothers, and longtime friends Helene Farrar and Janna Civittolo, Cerulean Fine Art Gallery is contributing to central Maine?s evolving art scene. Cerulean Fine Art Gallery features the work of the Cerulean Collective (a select artist group curated by the gallery), a unique art rental program, working artist studios, private lessons and workshops, and an art lending library. Summer hours are Tuesday, Thursday, Friday, and Saturday from 11:00 a.m. - 5:00 p.m. (first and second Fridays they are open until 8:00 p.m.), and by appointment. For more information, please contact Cerulean Fine Art Gallery at 626-9009, or visit www.ceruleanart.com.

Damariscotta Artist/ Sculptor Jacques Vesery was selected to participate in "Les tourneurs et leurs Projets" during the "Art and Passion du Bois" festival in Breville (near Cognac) France, August 30-31, 2008. This competition brought together 6 wood art

professionals to create work in a public venue. Three prizes were awarded including one by a jury of professionals and local dignitaries.

The theme; "Him and Her"....The challenge; Complete a piece in two days. Jacques' thoughts on how his work would relate to the theme; Two turned forms representing Male and Female specifically, yet to convey several ideas. Although the forms may relate to non-realistic seaforms or creatures and each single form, being unique with an ability to stand alone..... together represent a combined relationship. As with any relationship between two objects [not necessarily human, but including plants, animals and man-made objects] the intent was to reveal compatibility, similarity, individuality and the importance of unity as well....no matter where one comes from or what side of an ocean.

Jacques received the highest honor, the Professional Juror's Award which is based on the criteria of technique, creativity, relation to the theme and emotional provocation. With this comes the honor of returning to Breville in 2009 as President of the Jury for the next competition. He is the only artist outside of France ever to be accepted to this event.

More images and information is available through the artist and/or Cerise Boisseaux in Breville at cerise.boisseaux@gmail.com