UNITED STATES OF AMERICA
 Head  Arches IV
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Our country has always been a melting pot – included are people from Europe, Philippines, Latin America, Africa, Asia, Pacific Islands, and, of course , the United States and Canada. In my gallery I have reflected this mix… this blending through the art of Ynez Johnston, Herman Kofi Bailey, Alfred Zalce, Jean Charlot, Ruth Asawa, John Paul Jones, Helen Lundeberg, Sam Francis, Emerson Woelffer, June Wayne, …. and many others, with the focus on American.
WOMEN
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 Fisherman on the Dock  Three Oranges
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There are Artists – American artists, Japanese artists, Latin artists, surrealist artists, male and female artists….but most artist do not want to be identified through ethnicity or gender or any other appellation aside from ‘Artist’.
Nevertheless, we present art by 20th century California artists who just happened to be women! Using many styles, techniques and subjects, these artists have created prints, drawings and paintings to which we respond…and …we hope you do too.
| These two painting by John Paul Jones are quite individual as visuals. However, each reveals the personality of the artist… there is a meditative quietness – a stillness , a contemplative mood – that can be felt by the viewer- a glimpse of his inner history. |
John Paul Jones 1924-1999
and David Philip Levine 1910-2008
John Paul Jones and David Philip Levine were quite different in their personalities, their technique and their imagery – it appeared.
But, through their art, each revealed himself as sharing a meditative quietness – a stillness – with each other and with the viewer. They provoked a thoughtfulness, a comtemplative mood, a consideration of the subject that led to an understanding – in Levine’s work – of his period in history, and in Jones’s work – a glimpse of his inner history.
Additional works by these two artists are available and each bears out similar inner feelings.
 Violet Sisters Head  Pale Morning
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 Skylights and Rooftops  Subway Riders
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New York 1912 – 1930s
Prints
Yes! I do focus on the art and artists of California 1930s – 1980s BUT sometimes I can’t overlook fine prints from ‘other American places’…like on this current webpage.
Each image by these renowned artists: Harry Sternberg, Hermann Struck and William Wolfson gives a glimpse of the active life in New York of this period – some intimate, some broad views. So many of us in California experienced the same or similar communities with nostalgia.
Imagine these prints on YOUR walls, where you can see them every day!
Click on the images for full details.
Enjoy!
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LEONARD EDMONDSON
Abstraction
Known for his work as a printmaker of etchings, screenprints and lithographs, Leonard Edmondson used a wide variety of media that included painting in oils, acrylics, watercolors and drawing. He began his career as an artist with a multiple degrees from the University of California Berkeley. After service in the Army, he taught at UC Berkeley, at the Otis Art Institute in Los Angeles and served as chair of the Art Department at CalState Los Angeles.
By 1950, Edmondson’s art evolved from figuration to abstraction. He used viscosity etching technique while developing textural effects. His dynamic surreal and abstract imagery relates to Nature.
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Edmondson wrote: “My vocabulary uses color, size and position of shapes and the shapes occupy shallow space. My art is one of discovery. I have found satisfaction in the spontaneous act of drawing and painting.” Edmondson has a long record of exhibitions and his art can be found in illustrious collections – both private as well as public. |
JUNE WAYNE
Crystalline
JUNE WAYNE held the key to opening doors for ‘women in leadership’. She was bold, charismatic, brash, exciting, abrasive, loving, angry, intelligent and creative.
Yes! She revealed paths encouraging artists to explore “new” techniques, to stimulating creativity in many directions…. She was a ‘force of nature’ asserting, supporting, demystifying the latent power in feminine instinct and intellect. She also had acquaintances in the male dominated scientific and technological sectors who were challenged by the physical world. In the early 1950s, she and her friends at the Jet Propulsion Laboratory were exploring crystalline structure in science…and in art. There is such beauty in nature!
In her lithographs and paintings was evidence of this fascination….a breakthrough that described form cell by cell. At JPL the scientists manipulated physical elements; in JUNE WAYNE’s studio, she used the surface of the limestone to create forms for transfer to canvas and paper.
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Photography
The Photograph…..what an exciting development in art techniques!
In the late 19th century, Alfred Stieglitz finally convinced us that ‘photography’ was a true art technique though Photography had already been part of the ‘language’ since the mid-1800s!
But Stieglitz pushed the envelope even further in linking the intaglio plate to the capture of a camera image….voila! the photogravure …and other nuances incorporating the camera captured image.
In this current gallery page we include a 1909 Camera Work #28, a complete issue that holds six images ‘shot’ by David Octavius Hill plus images by Paul Haviland, George Davison, Alvin Langdon Colburn and Marshall Kernochan from the mid-19th century… and continue our little ‘history’ with photographs from a broad view of the 20th century.
Hella Hammid’s “Roman Urchin” was one of the photographs she submitted for Edward Steichen’s “Family of Man”; Edmund Teske’s “Door in the Desert” reveals his penchant for creating almost-surreal compositions. Explore!
 
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Drawings 2020
A drawing tells the plain truth. You can trust a drawing to reveal the artist’s thought processes. An artist envisions the basic structure of a composition.
Attributed to Fragonard, “Education of the Virgin ” is ‘finished’ and ‘says it all’ to me…as a ‘first idea’, this drawing can stand independently.
The drawing by Lorser Feitelson: Study for “Love, Eternal Recurrence” . is a preparatory drawing for a post-surrealist painting created in 1936 in the collection of the Phoenix Art Museum.
Frode Dann’s simple drawing of a Fluffy Cat is complete, as is Grace Clement’s “Architectural Elements”. While Dann depicts his cat without commentary, Grace Clement laid her paper on a corrugated cardboard to capture the texture of the cardboard to her direct drawing.
 Via dello Studio  Fluffy Cat
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 Education of the Virgin Mary  Nanny and Child
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JUNE WAYNE
(1918, Chicago-2011, Los Angeles)
In 1960, June Wayne opened the Tamarind Lithography Workshop to train journeymen printers in assisting artists in the lithography print technique. She realized that the artists could apply their familiar tools (crayon, pencils, liquid pigments, charcoal, etc) to draw directly on the lithograph stone as if they were actually working directly on a piece of paper!
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| June Wayne expanded the understanding of the symbiotic relationship of lithography, bringing renowned artists – Frank Stella, Richard Diebenkorn, etc. – to share her passion. Here are examples of Her artistry, before and after the founding of Tamarind! |
Women Artists
Los Angeles, California
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MELTING POT of the Arts
Los Angeles, California
Los Angeles, California presents a melting pot of the arts. A blending of influences pervades the studios, galleries and museums. We present works by artists of Latin America, of Asia, of Native America, of Israel, of the United States and of Europe.
 Nature Morte a l’Estampe
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SWEETEN YOUR LIFE
As my Gallery winds down, I find many fine pieces of art
that I’m now willing to make available.
I’ll continue to offer ‘treasures’ to sweeten your
home/office as these pieces have sweetened mine!
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MEXICO – UNITED STATES
OUR NEIGHBORS – OURSELVES
So close…and yet there is a border and a language dividing us.
But, the border is porous and the language is a common one, used fluidly and flexibly throughout both countries.
EMBRACE THE ELEMENTS WE SHARE.
 Nina China
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 Bosque
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AMARANTH ROSLYN EHRENHALT
(b.1931)
John Paul Jones 1924-1999
and David Philip Levine 1910-2008
John Paul Jones and David Philip Levine were quite different in their personalities, their technique and their imagery – it appeared.
But, through their art, each revealed himself as sharing a meditative quietness – a stillness – with each other and with the viewer. They provoked a thoughtfulness, a comtemplative mood, a consideration of the subject that led to an understanding – in Levine’s work – of his period in history, and in Jones’s work – a glimpse of his inner history.
Additional works by these two artists are available and each bears out similar inner feelings.
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