By Gary Eckhart, curator, Green Mountain Watercolor Exhibition
Shortly after the turn of the century there was an occurrence in the art world that has yet to be explained. Although slow in progressing, representational art began developing as a strong “in vogue” art entity. While the non-objective more expressionist art genres of the late 1900s were not replaced by the representational movement or disappeared (nor should they), collectors began acquiring more recognizable, classically-based works of art. Ateliers such as the Grand Central Atelier of Ridgewood, New Jersey, started to spring up across the United States and Canada. These ateliers stressed a classical, more disciplined approach to painting, drawing and sculpture.
Representational art became a dynamic, driving force in the art market as the world was leaving the era of COVID in the 2020s. The phenomena of this art movement is still not fully understood by art historians.
Representational art covers a broad spectrum of styles. At one end of the spectrum are photo realism and realism with forms that are easily recognizable while impressionism and abstraction are at the opposite end with very opposing styles. Abstract art is based on recognizable subjects and not to be confused with non-objective art which is generated solely on non-subject, often emotional, material or ideas.
TOUR DE FORCE
The Green Mountain Watercolor Exhibition, currently on display at the Red Barn Galleries of Lareau Farm and Forest, is a tour de force of representational art with works that range from photo realism to recognizable abstraction. With the exception of the non-objective paintings, “Vertical Farming I and II” by Carole Hennessy (Chicago, Illinois) and “Switch” by Harriet King (Waitsfield, Vermont), all the 97 paintings comprising the main exhibition fall somewhere in the realm of representational art.
“Pocket Change” by Lynn Pratt (Pawlett, Vermont) is a large, technically perfect photo-realistic painting that could easily pass as a photograph at first sight. Not quite in the same category as Pratt’s painting are numerous, outstanding paintings that fit into the realm of representational realism. Foremost is “It Goes Like This” by Gerard Doucette (Charlestown, New Hampshire), a figurative study in soft neutral tones with contrasting brass and flesh accents. Chris Krupinski (Maineville, Ohio), and Cindy Brubeck-King (Palisade, Colorado), both internationally recognized artists, are represented by their large realistic still life paintings “Lemons With A Bowl of Blueberries” and “Cherry Bomb,” respectively. Both artists are known for their approaches to realism.
REALISM
Realism in various configurations is very evident in the numerous figure and portrait paintings on display. “Coffee Break” by Don Taylor (Panama City, Florida) is a delicate, controlled and detailed study of a sedate Civil War enactor while “Steampunk-y” by Janet Palmer (North River, New York) is painted in a more stimulating free-brush style with a great deal of the artist’s brushwork visible.
Moving away from the numerous interpretations of the realistic works are paintings with a more impressionistic approach to their subject matter. The impressionistic style is most often accomplished with a looser handling of the application of paint. Fran Mangino (Venice, Florida) has a very impressionistic approach to figure painting with her painting “Cucina Italia.” She accomplishes this with loose brushwork and the deft use of “lost and found” edges in her treatment of the subject. z feng (Radford, Virginia) relies on the less controlled flow of water and pigment in “Winter Morning” to accomplish an impressionist style with strong overtones of abstraction.
There are two representational abstract paintings in the exhibition. “Bluebells and Lilies” by Caitlin Glaser and “Timing The Walk II” by Judith Selin (both artists from Shelburne, Vermont) are two paintings of subjects that have at their source recognizable subjects; however, the subjects are rendered with shapes that are totally abstract in form. The two watercolors are perfect examples of the abstract genre as it fits into representational art.
The 2025 Green Mountain Watercolor Exhibition is unusual in that it presents the total breadth of representational art, photo-realism to abstraction, in a manner that is accessible and easily understood. The Exhibition is made possible by the Valley Artists Guild and is presented free of charge as part of its educational and artistic outreach program. Gallery hours are Thursday and Friday from 4 to 9 p.m. and Saturday and Sunday from noon to 9 p.m. Red Barn Galleries at Lareau Farm and Forest, Route 100, Waitsfield, through July 20, 2025.
