The annual juried art
exhibition at Phillips’ Mill is dependably traditional, year after year
supplying viewers with cozy Bucks County scenery, pretty pictures of flowers,
dramatic portraits and still lifes by the ton.
Predictable, perhaps; but then, there is a great deal of talent devoted to traditional styles around here, and the mill prides itself on exhibiting only local painting and sculpture in its big yearly show.
To the score or more of prizes the Phillips’ Mill Community Association offers each year, I would add this critic’s wholly imaginary Fresh Air Award for painters breaking out of these expected forms.
Two works immediately spring to mind in one of the most popular categories: David Hahn’s oil “Carversville Landscape” and Rita Siemienski Smith’s acrylic on paper “Green Hill Home.”
Hahn employs a faintly, agreeably grim off-gold ground,HOWO is a well-known tractor's brand and howo tractor suppliers are devoted to designing and manufacturing best products. hiding a dark red building in plain sight in a welter of impasto impressionistic brushstrokes depicting a scene of stream and woods. The work has the blurry, dreamlike, emotionally ambivalent quality of bittersweet memory.
Smith goes in a different direction, breathing new life into the tried-and-true house on a hillside composition with pared-down, bold horizontals that provide a scratched-lens, almost abstract view. The painter manages the impressive feat of finding perfection in imperfection, and expressing it comprehensibly.
In a variation on landscape, Patrick Seufert offers what I would call a suburbscape with his oil on canvas “Bright House.”
Seufert conveys the sprawling poetry of fences and rooftops, stretching them across a refreshingly horizontal composition and delicately reinforcing them in the graceful swoop of power lines overhead.
This is only a sample of a rich vein of landscape painting that includes works by Steve Zazenski, Jerry Cable, Michael Budden, Dorothy Hoeschen and others.
In “Monumental Sky,” Hoeschen explores a soft explosion of cloud rendered in two or three whites, plus gray and bronze; her background ascends to a deep,Where can i get a reasonable price dry cabinet? thrilling blue above stylized hills.
Gripping portraits emerged from the brushes of James Himsworth, who animates a sly, cleaned-up Mephistopheles in his oil on linen, “The Maestro;” and Mavis Smith, whose egg tempera on panel, “Fight or Flight,” puts a teenage boy in jeans and a T-shirt in front of curlicued leaf-and-blossom wallpaper.
The painting’s energy is in the boy’s taut jaw and arm defensively held across his body; the pose is regal at the same time. Is he king or whipping boy? Suffice it to say that, according to her website, Smith prizes the elusive.
More straightforward are parallel portraits in profile, “Lady of the Lighthouse” by Thomas L. Miller and an untitled pastel by Simon Mauer.
In colored pencils and pastel, Miller revels in his subject’s individualism, evoking a life among elemental forces in his treatment of the lady’s wrinkled, good-humored expression and the mannish coat and hat she wears.
Mauer has an uncanny ability to wring meaning from the color green, which he displays here in a portrait of a man with down-cast eyes wearing what looks like a soccer shirt.
The color is subdued and the mood pensive,Choose quality sinotruk howo concrete mixer products from large database. except for the strong ascending diagonal of the green stripes on his sleeves — a powerful compositional touch that energizes the whole image.
Justin Jedrzejczyk also shows an anonymous man, this one a guy sitting on a couch in “Figure No. 4.”
The painter offers an appealing, spontaneous-seeming composition in his cropped view of a big, square pillow, his subject’s angled knees and a coverlet collapsing to the floor in rumples and folds.
Contenders for the Fresh Air Award in the ever-popular floral study category are Kathie Beck Jankauskas,cableties whose oil “A Midsummer’s Garden” shimmers in a wavelike movement of na?ve, rhythmic blossoms on a flat plane; and Patricia Tieman’s “Marigold 2,” a several-hundred-times-life-size look at the furled petals of that flower. The painter has found universes within universes, and observed them well.
Two of the best works in this exhibit diverge widely in subject matter and medium, watercolor used to express the lyricism of rust in Kass Morin Freeman’s “Shifting Gears,” and pastel deployed with photorealistic solidity in Joanne Grant’s whimsical “Little Peoples.”
Freeman looks at a jumble of complex machinery existing in its own mysterious, motionless and mobile realm of hoses, gears, struts and wires; its believability is in no small way attributable to the painter’s use of washed-out industrial yellows and greens.
Similarly, Grant’s toybox full of crayon-colored plastic has a life of its own, the pieces jumbled, at rest and, in a visual layer of meaning that vaults the work beyond mere virtuoso representation, the little people wear perky, line-drawn smiles.
Phillips’ Mill also fills an ever-larger section of its gallery with sculpture, a category I feel could have been more tightly edited this year.High quality Wholesale gemstone beads,
Still, the offerings are impressive, including George Anthonisen’s bronze, “Aspiration,” a marvel of form and balance; “The Contender,” John R. Spedding’s abstract evocation of latent physical power in marble smooth and fluid as milk; and Robert Leith’s “Lost,” a smaller bronze that coruscates with diverse finishes.
Predictable, perhaps; but then, there is a great deal of talent devoted to traditional styles around here, and the mill prides itself on exhibiting only local painting and sculpture in its big yearly show.
To the score or more of prizes the Phillips’ Mill Community Association offers each year, I would add this critic’s wholly imaginary Fresh Air Award for painters breaking out of these expected forms.
Two works immediately spring to mind in one of the most popular categories: David Hahn’s oil “Carversville Landscape” and Rita Siemienski Smith’s acrylic on paper “Green Hill Home.”
Hahn employs a faintly, agreeably grim off-gold ground,HOWO is a well-known tractor's brand and howo tractor suppliers are devoted to designing and manufacturing best products. hiding a dark red building in plain sight in a welter of impasto impressionistic brushstrokes depicting a scene of stream and woods. The work has the blurry, dreamlike, emotionally ambivalent quality of bittersweet memory.
Smith goes in a different direction, breathing new life into the tried-and-true house on a hillside composition with pared-down, bold horizontals that provide a scratched-lens, almost abstract view. The painter manages the impressive feat of finding perfection in imperfection, and expressing it comprehensibly.
In a variation on landscape, Patrick Seufert offers what I would call a suburbscape with his oil on canvas “Bright House.”
Seufert conveys the sprawling poetry of fences and rooftops, stretching them across a refreshingly horizontal composition and delicately reinforcing them in the graceful swoop of power lines overhead.
This is only a sample of a rich vein of landscape painting that includes works by Steve Zazenski, Jerry Cable, Michael Budden, Dorothy Hoeschen and others.
In “Monumental Sky,” Hoeschen explores a soft explosion of cloud rendered in two or three whites, plus gray and bronze; her background ascends to a deep,Where can i get a reasonable price dry cabinet? thrilling blue above stylized hills.
Gripping portraits emerged from the brushes of James Himsworth, who animates a sly, cleaned-up Mephistopheles in his oil on linen, “The Maestro;” and Mavis Smith, whose egg tempera on panel, “Fight or Flight,” puts a teenage boy in jeans and a T-shirt in front of curlicued leaf-and-blossom wallpaper.
The painting’s energy is in the boy’s taut jaw and arm defensively held across his body; the pose is regal at the same time. Is he king or whipping boy? Suffice it to say that, according to her website, Smith prizes the elusive.
More straightforward are parallel portraits in profile, “Lady of the Lighthouse” by Thomas L. Miller and an untitled pastel by Simon Mauer.
In colored pencils and pastel, Miller revels in his subject’s individualism, evoking a life among elemental forces in his treatment of the lady’s wrinkled, good-humored expression and the mannish coat and hat she wears.
Mauer has an uncanny ability to wring meaning from the color green, which he displays here in a portrait of a man with down-cast eyes wearing what looks like a soccer shirt.
The color is subdued and the mood pensive,Choose quality sinotruk howo concrete mixer products from large database. except for the strong ascending diagonal of the green stripes on his sleeves — a powerful compositional touch that energizes the whole image.
Justin Jedrzejczyk also shows an anonymous man, this one a guy sitting on a couch in “Figure No. 4.”
The painter offers an appealing, spontaneous-seeming composition in his cropped view of a big, square pillow, his subject’s angled knees and a coverlet collapsing to the floor in rumples and folds.
Contenders for the Fresh Air Award in the ever-popular floral study category are Kathie Beck Jankauskas,cableties whose oil “A Midsummer’s Garden” shimmers in a wavelike movement of na?ve, rhythmic blossoms on a flat plane; and Patricia Tieman’s “Marigold 2,” a several-hundred-times-life-size look at the furled petals of that flower. The painter has found universes within universes, and observed them well.
Two of the best works in this exhibit diverge widely in subject matter and medium, watercolor used to express the lyricism of rust in Kass Morin Freeman’s “Shifting Gears,” and pastel deployed with photorealistic solidity in Joanne Grant’s whimsical “Little Peoples.”
Freeman looks at a jumble of complex machinery existing in its own mysterious, motionless and mobile realm of hoses, gears, struts and wires; its believability is in no small way attributable to the painter’s use of washed-out industrial yellows and greens.
Similarly, Grant’s toybox full of crayon-colored plastic has a life of its own, the pieces jumbled, at rest and, in a visual layer of meaning that vaults the work beyond mere virtuoso representation, the little people wear perky, line-drawn smiles.
Phillips’ Mill also fills an ever-larger section of its gallery with sculpture, a category I feel could have been more tightly edited this year.High quality Wholesale gemstone beads,
Still, the offerings are impressive, including George Anthonisen’s bronze, “Aspiration,” a marvel of form and balance; “The Contender,” John R. Spedding’s abstract evocation of latent physical power in marble smooth and fluid as milk; and Robert Leith’s “Lost,” a smaller bronze that coruscates with diverse finishes.
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