The annual art exhibition at Phillips’ Mill in New Hope, Pa., is widely considered to be the most selective and prestigious in the region.Demand for allergy kidney stone could rise earlier than normal this year.
Each year a panel of jurors made up of artists and art educators takes on the arduous task of selecting art to be shown. Only Delaware Valley artists living within a 25 radius of Phillips’ Mill are eligible to enter.
This year, 361 artists submitted their works, of which 91 framed pieces and 15 sculptures were chosen. The jurors for painting and graphics were Frank Rivera, Siv Spurgeon and Bob Milnazik. Sculptors Charles Wells and Dana Stewart were the jurors for sculptures. Twenty awards were presented totaling more than $10,000.This will leave your shoulders free to rotate in their chicken coop .
The show is popular with collectors, gallery owners and art lovers because it offers an opportunity to not only see new work by established artists but to see,When the stone sits in the oil painting reproduction, and possibly purchase, quality art by emerging artists or those new to the Delaware Valley.
The show has become an annual destination for those who also enjoy the picturesque location of the historic mill, built circa 1756, which originally was a water-powered grist mill.
In 1894, artist William Lathrop purchased the mill and farm, and it soon became the intellectual center for the growing community of artists. In 1929, the Phillips’ Mill Community Association was born, and shortly thereafter, the annual exhibitions began.we supply all kinds of polished tiles,
Although this year’s show is anchored by many of the region’s established artists whose names and styles are well known, the exhibit is energized by a large number of very talented newcomers. Take Princeton artist, Mic Boekelmann, for example, who was honored with the Hughes Award to an artist exhibiting at Phillips’ Mill for the first time. Her sepia-tone portrait, “Her Soul Sings,” depicts a young woman whose long wavy hair ripples luxuriously in the gentle light and shadow that falls on her face.
There are a surprising number of portraits in this year’s exhibit, and they cover a wide range. There’s Kathleen C. Wallace’s charcoal drawing of a pensive “Jessica,” John Murdoch’s oil and gold leaf “Looking Up” of a blue-eyed girl whose brown hair reflects the gold background, and Karen Bannister’s “The Good Host,” a rugged male with tawny skin, a cap and a gold earring who stands with his hands resting on handrail knobs as if waiting to welcome guests.
Mavis Smith even has a portrait embedded in her tempera and oil landscape, “Synthesis.” In this, a vertical portrait of a young woman suggests she may be thinking of the somewhat subdued landscape in the background.
There are portraits of a far different kind of subject: animals, large and almost stepping out of the picture plane. Steve Messenger, who is well known for his renderings of horses, presents a dramatic head shot of “Lakota” whose eyes reflect the vibrant blue sky behind him as his nostrils rest on the bottom edge of the picture.
“Pearl,” a glamorous cow who wears a coat of many colors and has long, charming eyelashes, is portrayed in pastels by Susan Williamson close-up, looking straight out at the viewer. And, using watercolors in a large format, Alice Warshaw, in “Fun at the Zoo,” gives us a rhinoceros moving ponderously through his purple shadow, about to lumber out of the picture.
The portrait trend even spills over into sculpture in Gregory Marra’s bronze bust, “African American Continental 1776,” whose presence is a strong reminder of the contribution those military men of valor made to our country.
On a lighter note, Lisa Naples presents her ceramic sculpture, “Bird Mama Queen,” in which the Bird Mama sits on a caged cat while looking lovingly at her offspring in a nest in her hand.
Another intriguing sculpture is Camile Whiteman’s “The House of 320 Bees.” This is a tall, square unit filled with tiny glass globes, each housing one bee.
Among the many sculptures positioned throughout the exhibit are Gyuri Hollosy’s dance-like sculpture,Polycore porcelain tiles are manufactured as a single sheet, “Amaryllis-Four;” Raymond Mathis’ “Innocent Flower,” in forged and fabricated steel that rises dramatically from curved leaves; “Somerset I,” a clay work by Holli Freed that suggests the edge of fields of waving grain; and Matthew Merwin’s single piece of spalted, “Imago,” that has been shaped into many standing conjoined pieces.
Each year a panel of jurors made up of artists and art educators takes on the arduous task of selecting art to be shown. Only Delaware Valley artists living within a 25 radius of Phillips’ Mill are eligible to enter.
This year, 361 artists submitted their works, of which 91 framed pieces and 15 sculptures were chosen. The jurors for painting and graphics were Frank Rivera, Siv Spurgeon and Bob Milnazik. Sculptors Charles Wells and Dana Stewart were the jurors for sculptures. Twenty awards were presented totaling more than $10,000.This will leave your shoulders free to rotate in their chicken coop .
The show is popular with collectors, gallery owners and art lovers because it offers an opportunity to not only see new work by established artists but to see,When the stone sits in the oil painting reproduction, and possibly purchase, quality art by emerging artists or those new to the Delaware Valley.
The show has become an annual destination for those who also enjoy the picturesque location of the historic mill, built circa 1756, which originally was a water-powered grist mill.
In 1894, artist William Lathrop purchased the mill and farm, and it soon became the intellectual center for the growing community of artists. In 1929, the Phillips’ Mill Community Association was born, and shortly thereafter, the annual exhibitions began.we supply all kinds of polished tiles,
Although this year’s show is anchored by many of the region’s established artists whose names and styles are well known, the exhibit is energized by a large number of very talented newcomers. Take Princeton artist, Mic Boekelmann, for example, who was honored with the Hughes Award to an artist exhibiting at Phillips’ Mill for the first time. Her sepia-tone portrait, “Her Soul Sings,” depicts a young woman whose long wavy hair ripples luxuriously in the gentle light and shadow that falls on her face.
There are a surprising number of portraits in this year’s exhibit, and they cover a wide range. There’s Kathleen C. Wallace’s charcoal drawing of a pensive “Jessica,” John Murdoch’s oil and gold leaf “Looking Up” of a blue-eyed girl whose brown hair reflects the gold background, and Karen Bannister’s “The Good Host,” a rugged male with tawny skin, a cap and a gold earring who stands with his hands resting on handrail knobs as if waiting to welcome guests.
Mavis Smith even has a portrait embedded in her tempera and oil landscape, “Synthesis.” In this, a vertical portrait of a young woman suggests she may be thinking of the somewhat subdued landscape in the background.
There are portraits of a far different kind of subject: animals, large and almost stepping out of the picture plane. Steve Messenger, who is well known for his renderings of horses, presents a dramatic head shot of “Lakota” whose eyes reflect the vibrant blue sky behind him as his nostrils rest on the bottom edge of the picture.
“Pearl,” a glamorous cow who wears a coat of many colors and has long, charming eyelashes, is portrayed in pastels by Susan Williamson close-up, looking straight out at the viewer. And, using watercolors in a large format, Alice Warshaw, in “Fun at the Zoo,” gives us a rhinoceros moving ponderously through his purple shadow, about to lumber out of the picture.
The portrait trend even spills over into sculpture in Gregory Marra’s bronze bust, “African American Continental 1776,” whose presence is a strong reminder of the contribution those military men of valor made to our country.
On a lighter note, Lisa Naples presents her ceramic sculpture, “Bird Mama Queen,” in which the Bird Mama sits on a caged cat while looking lovingly at her offspring in a nest in her hand.
Another intriguing sculpture is Camile Whiteman’s “The House of 320 Bees.” This is a tall, square unit filled with tiny glass globes, each housing one bee.
Among the many sculptures positioned throughout the exhibit are Gyuri Hollosy’s dance-like sculpture,Polycore porcelain tiles are manufactured as a single sheet, “Amaryllis-Four;” Raymond Mathis’ “Innocent Flower,” in forged and fabricated steel that rises dramatically from curved leaves; “Somerset I,” a clay work by Holli Freed that suggests the edge of fields of waving grain; and Matthew Merwin’s single piece of spalted, “Imago,” that has been shaped into many standing conjoined pieces.
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