“In no time, the painter and printmaker, now 67, had a new medium. You see it in mural-sized works and an entire illuminated chapel at the Bainbridge Island Museum of Art, where Earl Thomas’s scenes of disaster are embraced in the minor salvations of her fluid lines. For 35 years, her work has put a little fragile light between us and the worst things. It’s as simple, and remarkable, as that.”
The fate of the Northwest School and its “Big Four” artists- Mark Tobey, Morris Graves, Guy Irving Anderson and Kenneth Callahan.
This Paul Horiuchi survey is the latest of several posthumous gallery and museum exhibits since the Japanese-born artist’s death in 1999 at age 93.
Who knew Paul Allen cared this much about art? He has emerged as Seattle art’s mega-patron
“If there’s anybody that knows everything about Pacific Northwest art, it would be John Braseth.” – Charles Smith
Seattle is already recognized as a great city for the arts, but this new fair debuting this week has attracted some of the most influential art galleries in the world.
“Motherland,” by Seattle landscape artist Jared Rue. Woodside/Braseth Gallery will show Rue’s work at the Seattle Art Fair.
Seven painters and sculptors exhibiting regularly in Seattle and, in a few cases, nationally and internationally, have loosely coalesced into a hitherto unacknowledged group—the dystopian artists of the Natural Catastrophes School
A review of “The Structure of Things,” an exhibition of DiPietro’s paintings at Woodside-Braseth Gallery in Seattle.
Jared Rue is one of those artists who plays with your perceptions. You wonder how his flat canvases can give such a sense of dimensionality. How can he achieve the depth, the layers, the images that recede into the distance? The longer you look at his paintings, the more the foreground gets closer and the background moves away.
Among the Mystics, John Braseth gave a special tour of “Modernism in the Pacific Northwest” at the Seattle Art Museum