Jeffrey Hartman “Motobecane” Oil on canvas 1978
JEFFREY HARTMAN USA
Oil on canvas
Signed: “Jeffrey Hartman ‘78”, “© 78 HARTMAN” (on the back)
Framed H: 26 1/2” x W: 18 1/2”
Belgian art dealer Isy Brachot coined the French word Hyperréalisme, meaning Hyperrealism, as the title of a major exhibition and catalogue at his gallery in Brussels in 1973. The exhibition was dominated by such American Photorealists as Ralph Goings, Chuck Close, Don Eddy, Robert Bechtle and Richard McLean; but it included such influential European artists as Gnoli, Richter, Klapheck and Delcol. Since then, Hyperealisme has been used by European artists and dealers to apply to painters influenced by the Photorealists. However, Hyperrealism is contrasted with the literal approach found in traditional photorealist paintings of the late 20th century. Hyperrealist painters and sculptors use photographic images as a reference source from which to create a more definitive and detailed rendering, one that often, unlike Photorealism, is narrative and emotive in its depictions. Strict Photorealist painters tended to imitate photographic images, omitting or abstracting certain finite detail to maintain a consistent over-all pictorial design. They often omitted human emotion, political value, and narrative elements. Since it evolved from Pop Art, the photorealistic style of painting was uniquely tight, precise, and sharply mechanical with an emphasis on mundane, everyday imagery. Hyperrealism, although photographic in essence, often entails a softer, much more complex focus on the subject depicted, presenting it as a living, tangible object. These objects and scenes in Hyperrealism paintings and sculptures are meticulously detailed to create the illusion of a reality not seen in the original photo. That is not to say they’re surreal, as the illusion is a convincing depiction of (simulated) reality. Textures, surfaces, lighting effects, and shadows appear clearer and more distinct than the reference photo or even the actual subject itself.
ATHOS ZACHARIAS (b. 1927) New York, NY
“Reinforce” (Rolex Watch Band Abstraction) 1972
Acrylic on Canvas in an Optic Minimalist Style of a Rolex Watch Band
Signed on the back of the canvas: Athos Zacharias, Reinforce, 1972, 40”x48”
H: 40” x W: 48”
Synthesizing images from pop, culture, architecture, and nature, painter Athos Zacharias creates dynamic works notable for their spontaneity and characterized by ART NEWS as “blindingly original.” Now the one-time assistant to Willem de Kooning has produced a totally new group of paintings that unite major ideas of this “between generational” painter.
His work can be found in important collections including the Corcoran Gallery of Art, Washington D.C.: the Museum of Art, Providence, R.I.; the Institute of Contemporary Art, Boston, Mass.; the Kalamazoo Institute of Art, Kalamazoo, Mi.; the Butler Art Institute, Youngstown, Ohio; E.F. Hutton & Co., New York; and the Westinghouse Corporation, Pittsburgh, Pa.
Zacharias has exhibited in leading galleries in major American cities including New York and the Hamptons, as well as internationally, notably in Amsterdam and Japan.
Arriving in New York in 1956, Zacharias immediately became involved with the downtown art scene. “I encountered some of the artists who would impact my artistic life. During the sixties in New York, I assisted other artists including Larry Rivers, Grace Hartigan, Mary Abbot, Jack Tworkov, Alphonso Ossorio and Lee Krasner, and notably, de Kooning. Another friend and major influence was the abstract painter Franz Kline.”
Recalling his initial encounter with de Kooning, Zacharias says: “I met Milton Resnick, who invited me to the “Club” where I attended many panels on Friday nights, and participated on one panel entitled “Younger Artists”. Shortly thereafter, I met de Kooning and a friendship blossomed. I was fortunate to be his first assistant when his studio was on Tenth Street. He so strongly believed in my work that he sponsored me for the Longview Foundation Award in 1962. I began to exhibit at the local Guild Hall, where in 1961, and again in 1979, I won the “Best in Show” Award. My friendship with de Kooning continued until his death.
“My great good fortune and a major part of my artistic development was not only being de Kooning’s assistant, but also being part of the Tenth Street Cooperative Gallery Movement. In 1959, I joined the Tenth Street’s “March” Gallery and showed with Mark di Suvero. I continued showing downtown at the Great Jones Gallery, and in 1961, I had my first one-person show at the Gallery Mayer, an uptown gallery that represented artists including John Graham and Man Ray.”
Zacharias was born in Marlborough, Mass. In 1927, and was raised in Fall River, Mass. He attended the Rhode Island School of Design on the GI Bill, graduating in 1952. He then did a year of post-graduate study at the Cranbrook Academy of Art, Bloomfield Hills, Michigan, receiving an MFA in 1953.
He has taught classes in leading institutions including Brown University, SUNY New Paltz, and the Parsons School of Design, and for twenty-six years taught at Wagner College on Staten Island.
He was married to Mary Filateros, and is the father of two, Rena and Denis.
PAUL BELIVEAU (1954-) Québec, Canada
“Les humanites CCLXXXIX” 2007
Acrylic on canvas
Signed and dated: Paul Beliveau 2007 (script signature on the back of canvas)
H: 40” x W: 60”
Born in 1954, Paul Béliveau attained his Bachelor’s degree in Visual Arts from Laval University in 1977. Recognized for his expertise in drawing, engraving and painting he has since then had more than sixty solo exhibitions across Canada and the United States. The recipient of numerous prizes in visual arts and of multiple grants from the Canada Council as well as the Ministère des Affaires Culturelles du Québec has taken part in several commitees and juries as specialist in the visual arts. “By openly integrating into the compositions an iconography from the past and proceeding through citation and retrospection, he reveals the phenomenon of metamorphosis upon which imagination itself is based. In this way he brings to light the very principles of the mechanics of creation. Imagination, which consists as it were in the transfer of a perceptible representation onto an image belonging to another reality, thus sees itself in the presented. Consequently it is not the images themselves but the unique process of creative development which accords Paul Béliveau’s works their originality.” (Dany Quine, L’oeuvre du temps)