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  • Empires - The Medici: Godfathers of the Renaissance
    Empires - The Medici: Godfathers of the Renaissance
    A fascinating and highly entertaining look at one of the most important families of the Renaissance era--the Medici.
  • Sister Wendy - The Complete Collection (Story of Painting / Grand Tour / Odyssey / Pains of Glass)
    Sister Wendy - The Complete Collection (Story of Painting / Grand Tour / Odyssey / Pains of Glass)

    “Sister Wendy Beckett has transformed public appreciation of art through her astonishing knowledge, insight and passion for painting and painters.” This set includes Sister Wendy's Story of Painting, Sister Wendy's Odyssey, and Sister Wendy's Grand Tour. Simultaneously delightful and scholarly--this is a must have for anyone interested in art history.

  • Exit Through the Gift Shop
    Exit Through the Gift Shop
    When British stencil artist Banksy traveled to Los Angeles to work, he came across obscure French filmmaker Thierry Guetta and his badly organized collection of videotapes involving the activities of graffiti artists. Inspired, Banksy assembled them with new footage to create this talked-about documentary, and the result is a mind-boggling and odd film (so strange as to be thought a hoax by some) about outsider artists and the definition of art itself.
  • The Impressionists
    The Impressionists
    A dramatization of the Impressionist movement as seen through the eyes of Claude Monet. Highly entertaining and informative.
  • The Impressionists: The Other French Revolution
    The Impressionists: The Other French Revolution
    A very personal and revealing look at the personalities that created Impressionism.

“An Expression of Who I Am” - Paintings by Raymond Royster

An exhibit by young artist Raymond Royster (born 1992) will open on October 20th, at the OAC Steamer Gallery in Ossining, NY. Please join us for the Reception, from 3:00-5:00 PM, to meet the artist and view his work. 

What follows is a statement by Raymond Royster:

“My name is Raymond Royster. I was born in Ossining, NY on January 25, 1992. I was raised in Hastings-on-Hudson, where I attended school until the 9th grade. My family moved back to Ossining, and graduated from Ossining High School. 

At about age 3, my brother and I discovered drawing. Rich—being 18 months older—was a much better artist at the time. But as I discovered trains, cartoons and Disney, I became the better artist. At age 5 I turned on the TV one day and there was Pappyland. Pappyland taught a different art technique each day. I never missed a show. While in high school, I studied Graghic Arts. After graduation, I took several art classes at the Jacob Burns Film Center Art and Film School, in Pleasantville. 

Most of what know, I learned through observation, trial and error. What I feel—and how I see things are an expression of who I am. The media I use includes markers, pencils, paints, and more. I like to experiment.

I had one solo show in July of 2017, in Tuxedo, NY. I attribute who I am—and my love of growing—to a lesson that rings in my head, from my late brother Rich. Your life is in your hands, and you can always do better! Just push yourself!!!”

The OAC Steamer Gallery is located at 117 Main St., 2nd Floor, Ossining, NY


Jenny Saville Painting Sells for $12.4 M. at Sotheby’s London, Record for Living Female Artist

Photo from an Interview with Jenny Saville“On Friday night, in a salesroom at Sotheby’s London, Jenny Saville’s masterful seated nude self-portrait Propped (1992), which features the artist gazing down at the viewer, with a long quotation from a feminist French critic scribbled across the canvas, made a record-shattering £9.5 million ($12.4 million) against an estimate of £3 million to £4 million.

That figure is not only the new high mark for a Saville at auction, it is also the most ever paid at auction for the work of a living female artist.” (Reprinted from article by Judd Tully on Art News)

Jenny Saville (born 7 May 1970) is a contemporary British painter associated with the Young British Artists, a group of concept driven artists. Saville is often credited with “reinventing figure painting for contemporary art, as well as originating a new and challenging way of painting the female nude…”. From the start of her career, Saville has engaged in an exploration of the body that borrows conventions from a long tradition in figure painting.


Did You Know?

The ‘Girl with a Pearl Earring’ painting by Johannes Vermeer was bought for the equivalent of just $27 at auction in The Hague, in 1881.


Masolino: A Lyrical and Unfailing Artistry

Masolino - Miracle of the Wheel - 1425-31 - Fresco - Castiglione Chapel, San Clemente, Rome (click photo for larger image)Masolino da Panicale (c. 1383 - c. 1435) was a painter who achieved a compromise between the International Gothic Style and the Early Renaissance style of his own day. He owes his prominence in the history of Florentine art not to his innovations but to his lyrical style and his unfailing artistry. Masolino came from the same district of Tuscany as his younger contemporary Masaccio (1401-1428), with whom his career was closely linked. Trained in a Florentine studio, he appears before 1407 to have been a member of the workshop of famed sculptor Lorenzo Ghiberti (1381-1455). He worked with Masaccio on the frescoes in the Brancacci Chapel, which artists from all over traveled to see and study.

The International Gothic Style was prevalent in Europe during the last half of the 14th century and the early years of the 15th century. It grew out of the need for artists to travel from court to court seeking work, following the Black Death. There were features common to European art, in general. In particular, figures were elegant and graceful – and had a certain artificiality. A taste did grow for realism in detail, general setting, and composition. The internationalism of the style owes to the fact that much of the most important work was executed under court patronage, and most European royal families were closely linked by marriage ties. Local idiosyncracies, however, did persist.

In the scene of the Miracle of the Wheel an angel intervenes to stop the torture of Saint Catherine of Alexandria commanded by emperor Maxentius. A secondary scene (upper left) shows the emperor looking down at the interrupted martyrdom from a high loggia. A woman beside him, doubtless Empress Faustina, is leaning over the railing. She, too, had been converted by Catherine.


William Glackens: A Rejection of Academic Dictates  

William Glackens - Hammerstein’s Roof Garden - c. 1901 - Oil on linen - 29 7/8 × 24 13/16 in. (75.9 × 63 cm) - Whitney Museum of American Art - New York, NY (click photo for larger image)American artist William J. Glackens (1870-1938) created paintings of street scenes and middle-class urban life that rejected the dictates of 19th-century academic art and introduced a matter-of-fact realism into the art of the United States.

Although he did not identify himself as part of the Ashcan School (discussed elsewhere on What About Art?), Glackens' attention to ordinary, modern, urban subjects and their unidealized presentation connects him to the core tenets of that movement. In documenting his world, he also incorporated the style of the Impressionists (particularly Renoir), as well as their interest in contemporary, urban leisure.

“Hammerstein's Roof Garden captures a fashionable entertainment venue, immediately placing the viewer in a specific and contemporary urban space. Such roof gardens were popular spots during the summer, when theaters were often closed due to the stifling heat. Recently opened by theater legend Oscar Hammerstein in 1899, this locale, the Paradise Roof Garden, was a popular destination for the sort of spectacular which we see here.

Positioning the viewer as a member of the audience, we see a row of fashionably dressed women who watch a pair of tightrope walkers. The costumes of the acrobats provide a jolt of color in an otherwise muted tonal palette. With this limited scene, Glackens gives us a sense of the immense space of the theater, its popularity, its clientele and its performances. Providing respectable entertainment, the presence of unchaperoned young women points to the modernity of this scene (previously, such unescorted adventures would have been unthinkable), further emphasized by the recognizable architecture and real-life locale.” (The Art Story)