Saginaw Art Museum
Birds in Art
The Saginaw Art Museum is pleased to present Birds in Art, an annual juried exhibition organized by the Leigh Yawkey Woodson Art Museum of Wausau, Wisconsin. The show begins Saturday, January 29, 2000 in the Museum's second floor galleries and runs through Sunday, March 26. Birds is comprised of 50 paintings and works on paper and 10 sculptures.
Birds in Art includes works by an international roster of artists "who find endless inspiration in the graceful shapes, iridescent colors, and varying habitats of birds the world over." The artists hail from Australia, Belgium, Canada, England, France, Japan, The Netherlands, Scotland, South Africa, Sweden, and the United States. Their chosen subjects also span the globe, from North American forest birds to the exotic creatures of Bali.
Mark Eberhard, b. 1949, Summer Migration, 1999, Rock dove, Acrylic on canvas, Collection of the artist "Most bird species migrate north in the spring and south in the fall. Summer Migration depicts the human species' peculiar habit of migrating during the summer months. Alone, in pairs, or with fledglings nestled in the back of the station wagon, people flock to the woods to escape the oppressive heat of the city. There, they roam camp-grounds searching for that perfect trailer site so they can claim their little piece of paradise."
Lee Kromschroeder, b. 1951, Fallen Comet, 1998, Rufous hummingbird, Acrylic on canvas, Collection of Douglas Royce. "Fallen Comet is the first in a series of trompe l'oeil paintings that I am considering. The technical challenges of this style of painting are obvious: all objects must be life-size, lighting has to be controlled and consistent, depth of field should be shallow, and the artist should not seek to manipulate the viewer's interpretation of the subject. Nevertheless, it is the artist who chooses the objects, their emotional content, and the abstract design created by their placement on the picture plane."
Ron Parvu, b. 1942, Cold Turkey, 1998, Watercolor on Twinrocker paper, Collection of the artist. "I paint what I see and how I feel toward a subject. Much of what I paint is symbolic and connected to my past in one way or another. Sometimes the subject just happens to be wildlife. Cold Turkey is an excellent example. It's actually a painting about me ...how I felt playing outside in the cold Ohio winters."
Andrea Rich, b. 1954, Bullock's Orioles (12/30), 1998, Woodcut on Moyu paper, Collection of the artist. "The Carrizo Plain in central California is a 3,000-acre alkali wetland. There are few trees and those available are heavily used. This old eucalyptus was full of orioles displaying and building nests. Its peeling bark provides an abstract background for the glowing plumage of the male orioles as they vie for the attention of females. The graceful drooping leaves help direct the viewer's eye around the composition."
Paula G. Waterman, b. 1954, First Sun, 1999, Great egret, Scratchboard, Collection of Leigh Yawkey Woodson Art Museum, Wausau, Wisconsin. "Great or common egrets, with their brilliant white feathers and graceful positions, are an ideal subject for scratchboard. In First Sun I included enough habitat to establish a context for the birds and tie them together in a composition without too much distracting background. The setting is early morning when sunshine first lights the marsh grasses and birds at a low angle. The reflections ripple up the grass and bounce around the birds creating unusual patterns."
Sue Westin, b. 1950, Rhythms, 1999, Oil on linen, Private collection. "Birds that grace the shoreline have their 'rhythms': coming and going, sleeping, feeding, beating the air with their wings, or, like sanderlings, scurrying along the finest skims of water. Layers of rhythms exist m high tide and low, in dawn, day, dusk, and night. They are endless."
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