In the Studio with Sarah Winkler

Golden aspen leaves fluttering in the wind. Water flowing across a granite rock bed. A crystal clear mountain lake reflecting a pure blue sky. The moment of totality during a solar eclipse. Refining these moments in nature down to their core, artist Sarah Winkler then amplifies them in her bold abstract paintings.

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Together Forever, We Rise, acrylic on wood panel, 40″ x 40″

Winkler’s abstract landscapes offer a contemporary viewpoint of the Western landscape. Her approach to pictorial space references the tradition of American landscape painting, echoing the expansiveness of paintings by artists like Albert Bierstadt. She distills the essence of a landscape’s qualities, or, as she describes it, “Getting down to the basic properties of landscape– that’s what I am trying to simulate.” Though at first glance her pieces appear simplified, they could not be less so; a sophisticated creative process builds intriguing geological textures and layers into each work.

“Disposable experiments” with ink on duralar to echo the effect of light reflecting through aspen trees.

Winkler’s process begins with what she describes as “disposable experiments.” Ink and acrylic are manipulated on Mylar and Duralar surfaces with alcohol and solvents to simulate the natural patterns she observes in the environment. She pushes her medium to the limit, translating the spontaneity of paint into the processes and effects of erosion, accretion and reflection. These patterns are then scanned into the computer and printed as special paper, which she collages on small panels to build the composition. Once the landscape’s design is finalized, she draws it onto large-scale wood panels and hand paints each section individually.The Western landscape and its grand vistas of mountains, mesas, and rock formations serve as her primary content, but she also looks further afield to European environments. Current work explores the landscapes of Colorado, Utah, Wyoming, Italy, and Iceland.
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Detail of a recent painting inspired by the Great American Solar Eclipse. Soft, muted grays are tinged with flashes of color to enliven the largely monochromatic palette.
A recent trip to view totality during the Great American Solar Eclipse in Wyoming serves as the subject matter for her latest body of work. Based on her perception of color during the moment of totality, these mostly black and white monochromatic Wyoming landscapes are infused with flashes of color, including yellows, pale blues and greens, browns, and soft pinks.  Winkler challenged herself to create depth and warmth in the textures and color palette of each piece. “From the eclipse I learned how to desaturate, but the color is still there,” she says. “I use a million grays, mixing up or down. ” Bold contrasts of light and dark shapes are balanced by the subtle hues within her multitude of grays.

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Nestled in a stunning mountain valley near Morrison, CO, Winkler’s home studio overlooks the same grand vistas that inspire her work. An avid hiker, she exhibits throughout the Western United States. Gallery MAR is proud to feature Sarah Winkler’s latest series: Great American Solar Eclipse paintings in three stages- first contact, totality, and third contact.

Christie’s Makes Market History With $786 Million Evening Sale Led by Record-Smashing Leonardo da Vinci

It was the highest total for an evening sale since 2014–why? Because a da Vinci was added to the contemporary mix.


Leonardo da Vinci’s Salvator Mundi. Courtesy of Christie’s Images Ltd. 2017.

Christie’s much-hyped sale of postwar and contemporary art at New York’s Rockefeller Center on Wednesday evening exceeded all expectations—at least for the painting that mattered most.

Leonardo da Vinci‘s Salvator Mundi (c. 1500) accounted for more than half of the night’s total—and set a new high-water mark for a work of art sold at auction. All told, the sale soared above the overall presale estimate of $410 million and significantly surpassed last year’s equivalent sale, which made $276.9 million.

The star of the night was, unquestionably, Leonardo. After a relentless bidding war that lasted a full 19 minutes, the last known work by the Renaissance master in private hands sold for $450.3 million, more than four times its estimate of about $100 million.  Christie’s conceived the (wildly successful) stunt to sell the Renaissance work in the contemporary sale.

Two nights earlier, Christie’s highly anticipated season got off to an impressive start with the Impressionist & Modern Art Evening Sale. The top-priced lot of the night was Vincent van Gogh’s Laboureur dans un champ, executed in the year before his death.

Vincent van Gogh (1853-1890), Laboureur dans un champ, painted in Saint Rémy, early September 1889. 19⅞ x 25½ in (50.3 x 64.9 cm). Sold for $81,312,500 in the Impressionist & Modern Art Evening Sale on 13 November 2017 at Christie’s in New York

The second-highest price on the night was realised when Fernand Léger’s Contraste de formes  from 1913 sold for $70,062,500, easily eclipsing the previous world auction record for the artist — $39,241,000, which was set in 2012. Offered for the first time at auction, this groundbreaking painting of the early 20th century came from the property of the Anna-Maria and Stephen Kellen Foundation, with proceeds from its sale going towards the foundation’s philanthropic mission.

Fernand Léger (1881-1955), Contraste de formes, 1913. 36⅜ x 28⅞ in (92.4 x 73.2 cm). Sold for $70,062,500 in the Impressionist & Modern Art Evening Sale on 13 November 2017 at Christie’s in New York.

Rebecca Kinkead’s “Winter” Exhibition

Rebecca Kinkead “Chairlift (Last Run)” oil, 54″ x 48″

By Veronica Vale, Fine Art Consultant

After nearly two decades of painting, Vermont-based artist Rebecca Kinkead enjoys a level of success and popularity that proves quite rare in the art world. Even still, she carries with her the same feelings of humility and overwhelming gratitude that she felt when she first began her artistic journey.

“My greatest triumph is that I am still painting after two decades. I’m not sure who I would be without it.”

“I think I am still surprised when people respond to my work. It delights me beyond words. To be alone day after day working in your studio and make something that then resonates with other human beings is always surprising and wonderful.”

“My greatest triumph is that I am still painting after two decades. I’m not sure who I would be without it. I know that this is what I will be doing for the rest of my life and I am so grateful for that every day.”

Rebecca Kinkead “Running Dog – Yellow” oil, 54″ x 68″

One of the first things collectors notice when admiring Kinkead’s work is her unique approach to applying paint to canvas. Kinkead has “never limited [herself] to brushes.” Instead, she works with a variety of tools from silicone bowl scrapers to floor squeegees to shoe polishing brushes. To her, “anything is fair game.” Her tool-work application of the paint gives her work the expressive, abstract quality that she has become nationally renown for.

Breaking into the art world with ceramics, Kinkead quickly developed a ”deep affection for the physical properties of materials and what they can do.” When she began painting, her appreciation for physicality carried over. She even began adding wax and marble dust to her paint to increase its viscosity. “This opened up a new realm of possibilities. Wax can be molded, burnished, carved, and scraped in ways that paint alone cannot.”

“I’ve always wanted to paint more of an experience than a description.”

These unique techniques help her to achieve the creamy, flat strokes and highly texturized ridges in her paintings, which have distinguished her as something of a sculptor of paint.

“I love juicy paintings with surfaces one can bite into. I’ve always known I wanted to paint like that. I’ve always wanted to paint more of an experience than a description.”

Rebecca Kinkead “Sledders (Blue Puffy)” oil, 54″ x 42″

Standing in front of one of Kinkead’s paintings, you cannot help but feel that distinction between experience and description. Her work has a way of capturing the spirit of a moment or of the season they depict. Viewers may find themselves staring into her work rather than merely at it.

In this way, her latest exhibition “Winter” encapsulates not just the look, but the feeling of winter. A ski scene conveys the chill of the air, the rush of the wind, and the exuberance of the movement. Her popular “Chairlift” paintings elicit a feeling of elated anticipation and of nostalgic warmth.

Living in Vermont, Kinkead is well-acquainted with the way in which snow transforms the landscape. “Sound is dampened, shapes softened, the light and shadows turn to incredible shades of orange, pink, blue, and purple. It all makes me feel very alive and inspired.” It’s no wonder this liveliness transfers to her work. Snow is applied to each piece in bursts of energetic paint while figures are animated through dynamic strokes to the canvas.

“I am fascinated by oil paint’s ability to be transformed by the pressure or angle of a tool. I try to manipulate the materials in ways that contribute to the energy of the painting, which is one of the most important things to me… the energy.”

Each painting pulsates with the movement and energy of a seemingly ephemeral moment in time, drawing the viewer in and encouraging them to participate in the experience. And we as viewers watch and wait, hypnotized and with baited breath, as if we dare the work to move.

Rebecca Kinkead “Grey Mare with Snow” oil, 54″ x 48″

A 2016 artist residency to Iceland shifted Kinkead’s outlook on her art. “Iceland was magical. I think it was more transformative once I returned home and had time to reflect on the intensity of the experience. The residency was on the north coast which felt like the end of the earth. The angle of the sun is so different up there you experience these optical illusions which are quite disorienting. It’s also possible that lack of sleep from 24 hour daylight compounds this feeling. I painted horses and wild animals the entire time I was there which was different and very exciting for me.”

“Trusting one’s instincts and following them without hesitation is where the best work happens.”

A slight shift in Kinkead’s color palette and overall tone marked the impact of this residency. Her colors during this period are more earth-toned and moodier, and her subject matter, more dramatic. Her horse paintings take on something of a haunting beauty, contrasting from the predominantly joyful and triumphant tone of her previous work. “The White horse offered a segue into animal forms for me. I think it will always feel like a spirit animal beckoning towards the unknown, which is always where I want to go as an artist.”

Looking back on a two-decade long career, Kinkead muses, “I think my painting style has been a slow evolution over 20 years of painstaking trial and error. Failure in art often leads to deeper insight, so it’s hard to see it as failure. If I have failed it is in not taking risks every time they present themselves. Trusting one’s instincts and following them without hesitation is where the best work happens.”

It is this continual evolution of style and this willingness to take risks that distinguishes Kinkead as a powerful, ever-evolving force in the art world. Join us for the unveiling of Rebecca Kinkead‘s exhibition “Winter” at our artist reception on December 29th from 6-9 pm.

Contact the gallery for an exclusive First Look catalog of the exhibition’s 20 fresh, bold works.

Loving Vincent Art Talk at Gallery MAR

Park City Film Series will preview the movie “Loving Vincent” Friday & Saturday, Dec. 1 and 2 at 8pm and Sunday, Dec. 3 at 6pm.

Join us at Gallery MAR Sunday Dec. 3 at 8 pm to discuss the show and the life of Vincent Van Gogh.  Please RSVP to PC Film Series 435.615.8291

 

“Loving Vincent” brings the paintings of Vincent van Gogh to life to tell his remarkable story. More than six years in the making with the help of 125 specially trained painters,
“Loving Vincent” is a uniquely animated film composed of 65,000 painted frames. This beautiful film captures the world of van Gogh in a cinematic experience like no other.
Thanks to Gallery MAR for underwriting!

Private Meet and Greet with Sarah Winkler

Wine — Eats — Music — Artwork Reveal

Join us on Sunday, December 3rd from 4 to 6 PM to meet Colorado artist Sarah Winkler, who will be delivering fresh new paintings, inspired by this summer’s solar eclipse. You will have a chance to preview Winkler’s freshest work and sample local wines from Old Town Cellars. For the first time, Winkler will also be sharing and discussing her torn paper sketches, which guide the color palette and composition of her acrylic on panel paintings.

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A sketch for one of Sarah WInkler’s newest paintings, based on the 2017 solar eclipse

 

 

The completed painting, “Silver Lake to Black Forest” by Sarah Winkler, 60″ x 60″, acrylic on panel

 

 

Sarah Winkler at her recent show at Gallery MAR, Park City

From Scientific American: According to NASA, light levels under totality “resemble twilight conditions about 30 minutes after sunset.” Colorado-based painter Sarah Winkler caught this beautifully in a series of paintings she’s creating in what she calls her “totality palette.” She was struck by the desaturated tones she saw cloaking Laramie Peak and the surrounding mountains in Medicine Bow Forest near Esterbrook, Wyoming, and is creating a series of large paintings for a show at Gallery Mar in Park City, Utah this December.

RSVP required — phone 435.649.3001 or email info@gallerymar.com.

Sunday, December 3rd, 2017 4 to 6 PM

Gallery MAR 436 Main Street

Park City, UT 84060