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  • Show at Tree’s Place

    Allen-Cove-Final2

    Fishing Shack in Allen Cove, 35×43″ (90x110cm)

     

    This Saturday May 21st there is a show of my work opening at Tree’s Place Gallery in Orleans, on Cape Cod.  It’s a two-person show, the other artist’s work featured is Marcia Burtt.  The opening is from 5-7:00 and I will be there- the show runs through June 2nd.  If you’re in the area, stop by for a glass of wine and a chat.

    Below are a couple of other paintings in the show that are not in the online catalogue:

     

    Spring-in-Gloucester

    Spring in Gloucester, 16×20″ (40x50cm)

     

    Blue-Rocks-Mist

    Morning Mist, Blue Rocks 24×30″ (60x75cm)

     

    Pomegranate-Slice-5.5x7.5

    Halved Pomegranate 6×8″ (15x20cm)

     

    Click here to see the online catalogue for the show.  

  • Still Life Paintings

    It’s time to post some work, show folks what I have been up to.  As usual, I spent some time painting outdoors this winter, though our snow left much to be desired this year.  In a way, that was a bit helpful, it encouraged me to stay in the studio and start doing some still life painting again.  It had been at least a few years since I painted still life in earnest, so it has been great to delve into it again- as one might expect, my approach is now quite different than it was back in 2006-2010 when I painted primarily still lives.  I have been enjoying them.

     

    IMG_6298

     

    The batch of paintings below is part of a still life exhibition ‘Stillness‘ at Ann Long Fine Art in Charleston, SC.  The show opens this Thursday, and you can see whats in the exhibition by clicking here.  Unfortunately I won’t be able to make it down for the opening, Charleston is a really fun, beautiful town with great food and weather.

     

    Fennel

    Fennel and Spring Onion 12×10″

     

    Honeydew_and_Grapes 9.5x11.5%22

    Honeydew and Grapes 10×12″

     

    pomegranate

    Single Pomegranate 10×8″

     

    halved_avocado

    Halved Avocado 10×12″

    bunch_of_asparagus

    Bunch of Asparagus 12×16″

     

    cauliflower_and_onion_in_warm_light

    Cauliflower and Onion, Warm Light 10×14″

     

    watermelon_slice

    Watermelon Slice 12×16″

     

     

    Then, the below four still lifes went off to the gallery I show with in Boston, Sloane Merrill Gallery.  They are not part of an big exhibition, but I was there the other day and most are currently hanging if you stop in at the gallery.  The below painting is my favorite painting from this year thus far.

     

     

    Pear-and-Pomegranate-25x35

    Pear and Pomegranate 11×14″

     

    Poggio-Antico-e-melograno-16x20

    Poggio Antico and Pomegranate 16×20″

     

    Artichoke_Tomato_Garlic_10x15

    Artichoke, Tomatoes and Garlic 10×15″

     

    Breakfast-12x16'

    Breakfast 12×16″

     

    The below batch has gone off to a variety of places, and a couple I still have.  The top picture with the three clementines is going to be part of a 2-Person show I’m participating in next month at Tree’s Place gallery in Orleans, MA, down in Cape Cod.  That show opens on May 21st, I’ll be at the opening, and the show runs through labor day weekend to June 3rd.

     

    Spotlight_13x22

    Spotlight 13×22″

     

    Turnip-9x16

    Single Turnip 9×16″

     

    DSC_0082

    Watermelon Radishes 10×12″

     

    Sliced_Pear_25x35

    Sliced Pear 10×14″

     

    Satsuma-Mandarins-25x35-oil-on-linen-panel

    Satsuma Mandarins 10×14″

     

    IMG_6564

    Pomegranates 7×10″

     

    As this post has become a bit long, I will do a separate one for recent landscape paintings.

     

  • NBMAA Acquisition, Cape Sounio

    Received news today that my 2011 studio painting ‘Poseidon’s Temple at Sounio’ has been acquired by the New Britain Museum of American Art for their permanent collection.  The New Britain is one of the only museums today in the states that supports and exhibits living ‘traditional’ painters.  They were kind enough to include a painting of mine from a private collection in their 2013 exhibition ‘A Joint Venture’ and speaking from that, I can say it is a very humbling experience seeing your painting hanging next to your heroes.  I’ll be happy to visit this older picture of mine in their collection sometime, it will be in good company.   Painting is, in essence, trying to connect yourself and place yourself within not only the context of ‘today’ but the historical lineages through which you feel grounded- so a painting being placed next to artists that you consider masters make that concept crystal-clear.

     

    Sounio, 90x120

    Poseidon’s Temple at Sounion, Morning 35×47″

     

    Painting the monuments is an ongoing project for me- perhaps because I have 2 architects in the family, I’ve always been attracted to painting architecture.  It is surprisingly difficult to obtain permission to paint the monuments in Greece-  Ruins in Italy and Spain can be a bit difficult to gain access to with an easel, but the Greek historical commission has passed some law specifically banning any tripods, probably because of professional photographers coming and using the ruins as subject.  Thankfully, now my Greek is much better and I can hold my own, arguing my way in at times.  Still, if you bump into the right guard they are just so happy to have an artist come and work.

     

    Below is the color sketch that I painted on site- I also did drawings, took photos and just spent hours looking at the thing.  My wife’s grandparents live just down the street from Sounio so I’m able to spend time there when I’m in Greece.  Though it looks a bit rough, I spent three mornings trying to paint this little color sketch, sitting down, with my easel weighted.  I still nearly lost the painting over the cliff at one point.  It was incredibly windy.

     

    Sounio, morning 30x40

    Poseidon’s Temple at Sounion, Morning 12×16″

     

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    Cape Sounio 11×14″

     

    I was able to make it back to Sounio to paint again this past winter, the above  sketch was the result.  It was in my show at Sloane Merrill earlier this year, perhaps it will become a studio picture as well at some point.

     

    Though this will be the first public collection in America to have one of my paintings, though the Museum of Landscape in Plyos, Ivanovo, Russia has one of my pictures in exchange for my trip there back in 2013.  No idea if it has since been exhibited in the museum there, though I would love to find out.

  • Demonstration at the MFA Boston

    On two Sundays in October I will running a class and artist demonstration at the Museum of Fine Arts in Boston- I was asked to coincide my talk and demo with their upcoming superstar show, ‘Class Distinctions in the Age of Rembrandt and Vermeer”.  Of course, to speak on artists of their caliber, two of my biggest heroes at the museum that I grew up visiting is a huge honor, and I’m very much looking forward to it.  I will have some examples of my work out, a live model from which I will be painting a portrait and a table of materials that would have been used by Dutch 17th-Century painters.  This will be half-talk on materials and process, half demo, and I will be answering questions throughout.  It’s free and open to anyone who comes to the museum on October 11th or October 25th.

     

    Screen Shot 2015-07-31 at 12.53.18 PM

     

    Join Leo Mancini-Hresko for an artist demonstration focusing on techniques of 17th century Dutch portrait painters. Learn how to successfully capture the sensitivity and nuance of the subject. Afterward, visit the exhibition “Class Distinctions: Dutch Paintings in the Age of Rembrandt and Vermeer” Gund Gallery (LG 31) and explore how artists represented the different social strata in the Dutch Republic.

    Leo Mancini-Hresko studied at the Florence Academy of Art and after graduating in 2005 continued on as an instructor and subsequently became the director of the school’s drawing program for sculptors.  Additionally, Mr. Mancini-Hresko  taught regular courses in plein-air landscape painting and artist materials until leaving the school in 2011. He relocated to his native Massachusetts and now paints and teaches from his studio in an old mill building in Waltham, MA using traditional artist materials, often his own hand-ground paints, prepared canvases and oils.

    This is an ongoing program. Come anytime and stay for as long as you’d like.

     

    Click here to be taken to a link on the Rembrandt and Vermeer show

     

  • Solo Show at Sloane Merrill Gallery

    This coming Friday, April 24th, I have a show opening at Sloane Merrill Gallery here in Boston.  showedited

     

    It’ll be a mix of work on view-some local paintings of New England, a few of the snowscapes from this past winter, and a few paintings from Greece.  My commission of the Dalai Lama from last year will be borrowed back for the opening as well.

    I’ve been consciously exploring how to apply American Impressionist aesthetics and color to modern subject matter, and this show will be highlighting that aspect of what I’ve been up to.

     

    The opening’s from 6:30-9:00, come out and say hello.

     

    Edit 05/07/15:

    Click here for a short article ‘Modern Impressionist’ on my show in Fine Art Today, Fine Art Connoisseur’s online version

    Click here to link to a recent post on my work at Charley Parker’s art Blog, Lines and Colors

    And here are some high-res images of the work at the show:

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  • Landscape Show on Long Island

    Here are a couple of paintings that left the studio this morning for Grenning Gallery’s annual summer landscape exhibition.   The show opens this Saturday, August 30th.

     

    Cape Ann 30x30"

    Cape Ann 30×30″

    Lotus and Lilies 22x28"

    Lotus and Lilies 22×28″

     

     

  • Upcoming Events and Courses Spring 2014

    Here are some events over the coming months- there’s something here for everyone.  Lots going on this spring/summer.  Things have been busy, and though I haven’t been able to update the blog for some time,  I’ll be posting some recent paintings soon. In the meantime –

     

     

    •June 7th-Paint the Hill’  event on Beacon Hill in Boston.  Plein-air painting exhibition and fundraiser organized by Sloane Merrill Gallery and the Beacon Hill Civic Association.  We will paint all day and they will have a reception at the gallery on Charles St in the evening.  You can get tickets and read more about it here on the gallery’s website.

     

     

    •June 21st-22nd- Landscape Painting in Boston at the Academy of Realist Art in Boston.  All the nuts and bolts of outdoor painting as I know them, held in the heart of Boston on the Esplanade, one of my favorite places to paint in the city.   City, Bridges, Water, Boats- lots to paint, and lots of space.  There are only a few spots left- 8:30-12:30 $265 get in touch here for signup and materials list

     

     

    •June 24th- Brushes! The good people from Rosemary & Co (who make some of the best brushes on the market) will here in the studio demonstrating how they make their handmade brushes, showing off their whole line, and will have tons of their brushes for show and sale. Bristles, Synthetics, Sables, all sorts of good stuff. We will plan for the evening so people can get here after the evening commute.  Always interesting to chat with a manufacturer, gives you a bit of a different perspective on the materials that we use as artists.  Please get in touch if you’re planning on coming as space is somewhat limited here.  Easy commuter rail and bus line access.

     

     

    •June 27-29-Painting the Figure and Portrait  This will be fun- Rather than doing another exclusive Portrait or Figure workshop here in the studio we will try to divide the two a bit, and run it a bit differently than past courses.  Students will have an option to work on the head and shoulders, or full figure.  This will not be taught exclusively sight-size, and we will have lots of time to talk and do demos again. Emphasis will be on producing a likeness, proportions and structure.  Students welcome to work in Pencil, Charcoal or Oils  $280 10:00-1:00 at the studio in Waltham,  Model fees and most materials included.

     

     

    •July 12-13th Landscape Painting in Vermont– All-day landscape painting intensive nestled away in the hills of Vermont, for the Middlebury Studio School.  I am really excited for this, and to get back up to there to do some painting again- Vermont offers some of the best painting in New England.  Can’t really ask for more than rolling hills, older architecture and the occasional puffy cloud.   The area, views, and weather are ideal for painting, especially when working on painting distance, and the effect of hills receding away from you.  Composing paintings in the hills is very different than composing on flat ground. 9:00-3:00 with a short break for lunch. $240 http://middleburystudioschool.org/workshops/

     

     

    July- Dates TBD Outdoor Figure Painting with Dana Levin-  More info about this later, but we are planning an all-outdoor portrait and figure painting course held at Dana’s place in Reading, MA.  Dana also taught at the Florence Academy for years, and together we will be applying traditional academic drawing and observation techniques to the figure, under full sun, as the light moves and colors change.   Her backyard is ideal, with lots of privacy, sun and shade.   This will be interesting, not your run of the mill model sessions. more about Dana at  http://www.danalevin.com/

    In addition to these events we are still running our regular weekly painting classes, Thursdays 9:00-12:00 and Fridays 12:00-3:00  $350/month/8 sessions, though some of the students are coming once a week and pay $350 bimonthly.  All levels, atelier-style instruction on individual projects.
    Any questions please get in touch    [email protected]
  • Plyos – зеленый шум 2013

     

    This year I was invited by the Museum of Landscape in Plyos, Ivanovo Region, Russia to represent Italy in their annual regional painting exhibition and cultural exchange – зеленый шум or ‘Green Noise’.

    In previous years they had hosted painters from other regions of Russia, and a few years ago began inviting international artists- 2011 was France, and 2012 was a group from Cyprus.  Next year will be Holland or England I believe.  We were each asked to donate an Italian painting to the permanent collection of the landscape museum, and they picked another painting from the body of work we did which will either remain part of the collection or be sold to raise funds.  The show is up until October 20th.

     

     Plyos зеленый шум 2013

    Here’s my painting that’s now at the museum in Plyos- Market at San Lorenzo, 30x40cm 2011

     

    Plyos was made famous by Isaak Levitan, and in turn he made much of his reputation on his Plyos series.  I’d always been curious what Plyos was like, having admired Levitan for years, this trip was an amazing opportunity.  It’s remained a destination town- Russian Prime Minister Dmitry Medvedev vacations there, and even though we were off-season we crossed paths with him on our first day.

    Sixteen artists total, eight Italians and eight Russians- the artists representing Italy this year were Daniela AstoneMarc DalessioBen Fenske, myself, Tim McGuireLuciano Regoli, Serghiy Shtanko and Vitaliy Shtanko who was the organizer of the Italian painters.  Our group was mostly culled from The Florence Academy of Art circle, and although I’m American I suppose living and working in Italy for over ten years is enough to represent the Italians.

    The Russian group was Виктор Бутко (Viktor Butko), Ольга Карпачева (Olga Karpacheva), Василий Куракса (Vasiliy Kuraksa), Людмила Кузнецова (Lyudmila Kuznetsova), Григорий Новиков (Grigoriy Novikov), Юрий Орлов (Yuri Orlov), Ирина Рыбакова (Irina Rybakova) and Олег Журавлев (Oleg Zhuravlev), who curated the entire exhibit along with Irina Sorokina from the museum.  *The links I’ve used here are the best I’ve come up with using my meager googling ability in Cyrillic- anyone who actually speaks Russian feel free to leave better links in the comments.  

     

    It was very interesting painting with the Russians- only really speaking through translators when they were available.  Despite our best efforts, at times a lot seemed lost in translation.  That said, we developed a good deal of camaraderie and understanding by watching each other work.  Painting was definitely the common language on this trip.

     

     Plyos зеленый шум 2013

    Plyos Motif 20×24″

     

    Before leaving, the forecast looked great- 60′s and partial sun.  A Russian had told me that Plyos was famous for its beautiful blue skies.  Instead, the weather was absolutely miserable.   Rain, wind and low temperatures, there was only one day we didn’t paint in the rain, though that’s because we were walking around Moscow in the snow.  Even the locals were shocked by the weather.  Coming back to Boston in October felt like walking into a tropical climate.

     

    Although the weather was difficult everyone got a lot of work done.  Being in a large group of artists is good for your hardiness, and even the days I was pretty sick I was out painting.

     

     Plyos зеленый шум 2013

    Dusk 11×14″

     

    Unfortunately I had very little computer access, photographing my work without the opportunity to check it on a bigger screen- as a result a lot of the images aren’t great.  I’ll rephotograph everything when I get it back in November.

     

     Plyos зеленый шум 2013

    St. Varvara, Rain 20×24″

     

    We went out painting at night as a group a bit.  Always interesting, as no matter how good your lights are you really don’t get a sense of your color until you see the painting indoors.  A lot of trying to remember how much of each color you mixed with, and keeping your mixing space organized.  Even still, it’s usually a surprise to see your painting the next day.

     

     Plyos зеленый шум 2013

    Moonlight Volga 12×16″

     

     Plyos зеленый шум 2013

    Midnight on the Bridge 12×16″

     

    Painting overcast effects all day every day is not something I’ve done much of- after a few days I started to really get into how much you could perceive color differences without light and shade.  Autumnal colors can be pretty garish, and the steady purple-grey sky seemed to tone everything down a bit.

     

     Plyos зеленый шум 2013

    Golden Plyos Sketch 12×16″

     Plyos зеленый шум 2013

    Golden Plyos 24×30″

     

    The architecture in the town was very interesting- a lot of traditional structures, and it seemed everything was under constant restoration.

     

     Plyos зеленый шум 2013

    Grey Day 24×30″

     

     Plyos зеленый шум 2013

    End of the Day 14×18″

     

     Plyos зеленый шум 2013

    Before Sunset 16×22″

     

    Some days, with the wind, I could barely paint a straight line.  I have a few things that will need to be fixed in the studio- color was good, but drawing was very difficult some days on top of the hill.

     

     Plyos зеленый шум 2013

    Rooftops in the Rain 14×18″

     

    This is the second painting the museum took, which will either be sold or stay part of their collection:

     

     Plyos зеленый шум 2013

    Rooftops in the Rain 16×24″

     

    Russia was an amazing experience- with all its difficulty, I never would have made it to Plyos without this trip.  A privilege to see where Levitan worked, visit the Levitan House Museum and see a bit of provincial Russia.

     

     Plyos зеленый шум 2013

    Church of the Resurrection 24×30″

     

    Apparently our paintings will be featured on a Russian Winter Olympics culture site at some point – I checked the site with Google translate and didn’t see us there.  Maybe someone who speaks Russian will see it.  They printed a catalogue as well- I have a proof, but the print quality isn’t great.  I’ll post a PDF of the catalogue when I get the OK from the good people at зеленый шум in Plyos.

     

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