Montecito 3D Virtual Gallery

PUBLISHED IN: Exhibition Tours
Jim Dine was an American Pop artist whose work meditated on objects with childlike appeal to find a universal and nostalgic language. Dine’s robes are among the most recognizable images to have emerged from his long and illustrious career. They were first shown at Sidney Janis gallery in the fall of 1964 – this is one such example. Double Silver Point Robes is a large-scale mixed media assemblage. The work is executed in silverpoint – a technique that utilizes a piece of silver as a drawing instrument over a specially prepared ground by which it oxidizes over a period of months to create a warm brown tone. The two joined canvases feature blocks of wood in place of where the heads should be and a hanging wood element that moves in response to air currents.


Guenther Uecker and his avant-garde contemporaries experimented with monochromatic color, light, materiality, and repetition. For Uecker, this experimentation manifested in his noteworthy nail-covered canvases. The 1984 piece, Poesie der Destruktion – Poetry of Destruction – presents a tumultuous arrangement on a neat square background. The swarming bed of nails evokes a forceful action with violent connotations. Black and orange swaths of oil paint undulate on the rough surface beneath the exterior of hammered and bent metal. The composition suggests wreckage, yet it lives in the context of artistic creativity, urging the viewer to observe the coexistence of creative and destructive forces.


WILLIAM KENTRIDGE - World on its Hind Legs - metal and wood - 64 x 26 x 30 in.


Peaks of St. Gervais is one of the artist’s classic landscapes, with his distinctive swift brushstroke and charming town and structures — half of which he rendered in the shade — dwarfed by the snow-capped mountain. In most of his paintings, Payne used structures and figures not as subject, but to communicate the dramatic scale of mountain landscape. Drawn to the mountains of Europe, Payne trekked and painted the Swiss Alps, the colorful harbors of Brittany and France, and the sailing vessels in Italy.


Spring, an unusually large-scale oil painting by William Wendt, depicts a huge expanse of blue, almost cloudless California sky over a wide, flat plain of verdant grass.  The only other adornments to this landscape are stands of tall, thin trees that, in the forefront, seem to tower over the far distant snow-capped mountaintop. Wendt’s Impressionist style is evident in the detailed brushwork that makes up the sky. Using short dashes of blue upon blue, Wendt builds the varying color from dark at the top to lighter blue as it nears the mountain on the horizon. Looking closely, the sky almost appears to be a mosaic, but from further back, the colors and strokes blend seamlessly to create its soft, pastel look.


This is the Portrait of Hedda Nova, painted by Joseph Kleitsch. The film industry provided plenty of commissions for Kleitsch, as he was contracted with the prominent LA dealer Earl Stendahl as an in-house portraitist at the time. Hedda was born Hedda Puscewski in Soviet Russia, what is now Ukraine. She became a silent film star, though she never transitioned into talking films due to her thick Russian accent. During the height of her acting career, she was still working hard on learning to speak English. She was married to American actor and director Paul Hurst from 1919 to 1953 when, sadly, he committed suicide after being diagnosed with terminal cancer. This portrait depicts Hedda in a lovely black and gold gown with gossamer sleeves. As a silent film actress, trained to emote without words, it is easy to imagine that her expressive eyes and dramatic hand at her chest are telling the viewer a story.


HASSEL SMITH - Untitled - acrylic on canvas - 84 x 108 1/4 in.


GEORGE GARDNER SYMONS - White River Bank - oil on canvas - 25 1/4  x 30 in.


In this portrait by Joseph Kleitsch, the sitter is unknown, the painting titled only Woman in Pink. She is wearing a pink dress with white lace sleeves trailing down and into in her lap. She is holding a bit of the lace in her hands, almost absent-mindedly as she tilts her head toward the painter and gives him a small, amused smile. Her hair is swept into a modest updo, and the pink flushing her cheeks echoes the pink of her dress. Kleitsch’s technique in rendering the lace is fascinating, as he seems to have only fully painted the pattern of the lace and the rest is made up of a few light and minimal strokes of the brush, lending it a sheer quality.


DONALD SULTAN - Yellow Tulip #18 - oil and tar on paper - 20 x 20 in.


FELIPE CASTANEDA - Mujer Hincada - black onyx - 15 3/4 x 8 1/2 x 9 in


FELIPE CASTANEDA - Mujer Desnuda - marble - 18 1/2 x 6 1/2 x 11 in.


FELIPE CASTANEDA - Pensando - marble - 11 1/2 x 7 x 7 in.


META GEHRING CRESSEY - Segovia Girl in Fiesta Costume, La Montera - oil on canvas - 24 x 20 in.


FELIPE CASTANEDA - Provinciana - white carrera marble - 20 7/8 x 13 1/4  x 10 1/4 in.


FELIPE CASTANEDA - Mujer en Reposo - bronze - 14 x 9 x 15 3/4 in.


FELIPE CASTANEDA - Mujer Peinandose - bronze - 16 1/4 x 11 3/4 x 11 in.


ANN DIENER - Cathedral #1 - graphite, prismacolor, gouache and cut paper - 59 1/4 x 40 1/2 in.


GENEVE RIXFORD SARGEANT - Gypsy Woman - oil on canvas - 24 1/4 x 18 1/4 in.


PENELOPE GOTTLIEB - Cattleya schilleriana (EW) - acrylic over aluminum - 24 x 20 in.


PENELOPE GOTTLIEB - Cypripedium anethinum (VU) - acrylic over aluminum - 24 x 20 in.


ANN DIENER - Small Expanse #3 - graphite, colored pencil, gouache, ink, and cut paper on paper - 22 1/2 x 30 in.


ANN DIENER - Small Expanse #2 - graphite, colored pencil, gouache, ink, and cut paper on paper - 22 1/2 x 30 in.