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  Jean Marion Gates Hall, “Napa Valley” Oil on canvas 1940

  JEAN MARION GATES HALL (1911-2001) USA

  Napa Valley 1940

  Oil on canvas, original wood frame

  Signed: with her monogram initials JGH (lower right)
  Marked on back: Jean Gates Hall, June 18, 1940, Napa Valley

  Canvas: H: 14″ x W: 17 1/4″
  Framed: H: 17 1/2″ x W: 20 1/2″

  Price: $4,250

  Born in Memphis, TN on May 19, 1911.  Jean Gates studied at the Cummings School of Art in Des Moines.  At age 14 she moved to Los Angeles with her family.  There she continued at the Chouinard Art School while working for Warner Bros, Walt Disney, and Mintz Studios.  Upon moving to San Francisco, she married writer James D. Hall in 1938.  Her illustrations were used in her husband’s children’s books.  She established a studio in the “Monkey Block” (now the Transamerica Pyramid) and was active in the local art scene.  She later earned her B.A. degree at San Jose State University (1955) and M.A. degree at UC Davis (1966).   Working in oil and watercolor, her painting style and subject matter evolved with the years from descriptive realism to linear pictures, and finally an entirely new medium called Magpage.  Mrs. Hall was a resident of Oakland in the 1980s and died in Cedar Ridge, CA on June 23, 2001.

  Exhibitions:  Iowa State Fair, 1926; California State Fair, 1937; GGIE, 1939;  Paul Elder Gallery (SF), 1939 (solo); NMAA, 1941; SFMA, 1942 (solo); De Young Museum, 1944 (solo); California WC Society, 1945-53; UC Davis, 1946, 1965 (solos); Kingsley Art Club (Sacramento), 1965.

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  Jeffrey Hartman “Motobecane” Oil on canvas 1978

  JEFFREY HARTMAN USA

  “Motobecane” 1978

  Oil on canvas

  Signed: “Jeffrey Hartman ‘78”, “© 78 HARTMAN” (on the back)

  Framed H: 26 1/2” x W: 18 1/2”

  Price: $18,000

  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.