
Brown Swiss, 1947 Private Collection |

Karl and Anna (Kuerner) 1971, The Andrew and Betsy Wyeth Collection |

Snow Hill, 1981,
The Andrew and Betsy Wyeth Collection |
The Kuerners ... Near Wyeth's family farm near Chadds Ford, Pennylvania, was the stark white weathered farmhouse of his neighbors, Karl and Anna Kuerner. As a child, Andrew would walk the hills of the Kuerner farm and in time, he became friends with both Karl and Anna. Eventually, they invited Andrew into their house. With the Kuerner's agrarian values and dedication to hard work, their farm seized Andrew's imagination. The Kuerners and their farm came to be one of Andrew Wyeth's mainstays, the subject of many of his works for over fifty years.
Brown Swiss, 1947 -- On a November afternoon, Wyeth climbed Kuerner's Hill, looked back over his shoulder and saw the Kuerner farmhouse, mirrored, upside down in the pond below.
Snow Hill, 1981 -- "Snow Hill" is a reference to Moby Dick, a hump like a snow hill, a metaphor for the whale who destroyed Captain Ahab. For Wyeth, Kuerner's Hill
served as a metaphor for his father, his own nemesis, his great white whale.
Karl and Anna (Kuerner) 1971 -- In 1971, Karl Kuerner was dying of leukemia. Anna hired Helga Testorf to
help with Karl's care. Andrew helped hold vigil during Karl's illness, and at times, holed up in the Kuerners' upstairs room to paint Helga. During these months, Andrew studied the Kuerners' marriage up close. Forced into exile after World War I, Anna lived almost wholly within herself, often mumbling in German. A slight woman, she was detached from Karl, yet fulfilled her household duties heroically and selflessly. Usually, she was unwilling to pose for Andrew.
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Winter, 1946, North Carolina Museum of Art, Raleigh |

Cooling Shed, 1953, Philadelphia Museum of Art |

Young Bull, 1960,Collection of Nicholas Wyeth
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Winter, 1946 -- Neighbor boy Allen Lynch is pictured running helter skelter down Kuerner's Hill toward the railroad crossing where Andrew's father N.C. Wyeth was killed just month's earlier. Wyeth said, "The boy was me at a loss, really."
Young Bull, 1960 -- Andrew Wyeth said of this painting, "When Karl brought the young bull out for me, I painted him on the spot. He was symbolic of so much of what went on at the Kuerner farm, the cattle and the house and the hills -- tans and whites .. the golden hill rising up behind, the house on the left, and the window where Anna was. I could hear her shouting, and every time she did the bull's ears would flicker and twist, and suddenly I could see that pink of the inside of his ear. I'd bought this long, scroll-like piece of paper. I started with the house and got interested in the bull's head, and the rest kind of flowed out from there. I kept on unrolling the paper and the painting happened naturally. I was amused to be there by the road, in the country, just unrolling this scroll and getting it down. It has a different sense of movement because of that scroll."
Cooling Shed, 1953 -- In my imagination, Wyeth said, the centuries-old milk-cooling shed at the Wylie farm in Chadds Ford was a wondrous house of cards, the kind he had built as a child. The broad boards had shifted over time and come to rest at strange angles. Wyeth recalled that within the cool interior, he could imagine a medieval cell, with the battered pails, in their sheen and by their sound, suggesting knights' helmets. It was just a modest structure in truth, but in Wyeth's estimation, it might be a hallowed setting from the tales of Robin Hood, which he enacted as a boy and read in the book vividly illustrated by his father, N.C. Wyeth.
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Monologue, 1965
Brandywine River Museum of Art, Chadds Ford, PA |

Spring Fed, 1967
Collection of Mr. and Mrs. W.D. Weiss |

The Drifter, 1964
Collection of Phyllis and Jamie Wyeth |
Monologue, 1965 -- Wyeth was mesmerized by Willard Snowden's eloquence and his mellifluous voice. Long monologues naturally rolled out of Willard when he posed. He would settle into a comfortable chair in the studio and just proceed to expound in professorial tones. Snowden had been a World War II veteran and a one-time merchant seaman. For Wyeth, painting Willard was a journey into other worlds.
The Drifter, 1964 -- Andrew said, "The first drawings for this portrait were quite different. Then one day Willard became interested in looking down and watching me draw. It was as simple as that."
Spring Fed, 1967 -- Andrew Wyeth recalled, "One day I became conscious of the sound of running, trickling water -- nature pouring itself out. The painting that emerged is about the clang of the bucket, the crunch of hooves, the spilling of water. My sister Carolyn said that the basin looked like a sarcophagus. Yes. And that shining bucket's the helmet of a knight who's in that grave. Deep down, of course, the painting is not about farming ... It's about the brutality and the delicacy of life on the farm symbolized by that thin tin cup, that crooked faucet ... I've drunk that water many times; it's the most delicious water. The way it comes over the ledge of the great trough and runs down the side is timeless. It's like life itself, endlessly moving.
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Raccoon, 1958
Brandywine River Museum of Art, Chadds Ford, PA
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Frog Hunters in the Brandywine Valley, 1941
Private Collection |

The Ides of March, 1974
Collection of Mr. and Mrs. Frank E. Fowler |
Raccoon, 1958 -- Before the Chadds Ford Mill House was purchased by Betsy Wyeth, the previous occupant was known to keep his coon dogs tethered outside and starving. Wyeth was artistically drawn to the old grain mill, its structure
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and its ruinous condition. Betsy bought the property as a gift to Andrew, hoping it would serve as his studio.
Frog Hunters in the Brandywine Valley, 1941. Early in his career, Andrew thought of following his father into illustration. Here the unusual composition is aided by a rapid change in scale, from the large skunk cabbage plants in the foreground to the small figures jigging for frogs in the background. But Andrew's new wife Betsy, married in 1940, did not want her artist husband engaged in that kind of "bread and butter" work.
The Ides of March, 1974 -- Here pictured is the hearth of Wyeth's Chadds Ford Mill House and his dog. But its not that at all. Wyeth, a fan of the film maker Ingmar Bergman, paints another kind of reality. The Ides of March was the date of Julius Ceasar's death. Here, the fireplace tools look like spears and the ring of hooks, Ceasar's crown. The empty fireplace is cold, symbolizing Ceasar's tomb, and the dog, the tomb's guard.
Sparks, 2001 (pictured below) -- Here is a room in the18th century Chadds Ford Mill House, but the hearth is not welcoming. The large candlestick to the left looms over the hearth like a sentinel. The mirror, top right, reflects a Wyeth painting entitled Wolf Moon, suggesting one is entering an alternate reality. And the fireplace itself looks like the gates of hell. The painting purposefully is upsetting, and portrays a sense of doom and death. |

Sparks, 2001
The National Arts Program, Malvern, PA |

Anna Christina, 1947
Brandywine River Museum of Art, Chadds Ford, PA
and the Museum of Fine Arts, Boston |

Oil Lamp, 1945
Collection of Phyllis and Jamie Wyeth |
Christina Olson ... In Maine, Andrew's favored model was Christina Olson. After his father's death, Andrew Wyeth began to consider Christina as the subject of some of his paintings. Wyeth's future wife Betsy James introduced Christina to Andrew. At the time, Andrew, Betsy nor Christina knew how she would figure in Andrew's art. But for Andrew, Christina was interesting. She had lost the use of her legs at an early age, and was cared for by her selfless brother, Alvaro. Andrew saw the strength in Christina, the will to endure in spite of her limitations. For Andrew, Christina was like the coast of Maine, and the weather beaten Olson house, emblems of survival.
Christina died in January of 1968. Wyeth had painted her in most of the rooms of the Olson house, her entire world. Wyeth recognized her attachment to her surroundings for he shared such an attachment with his own home.
Anna Christina, 1947 -- This is Wyeth's last portrait of Christina; she died a few months later. The trusting relationship between Christina and Wyeth is evident. She seems to be confronting the artist and the viewer with honesty and respect, with a piercing glare. Wyeth described Christina this way, "A powerful face with a great deal of fortitude. The quality of a Medici head."
Oil Lamp, 1945 -- The figure in this painting is Christina Olson's brother, Alvaro. He was the first of the Olson family to sit for a Wyeth painting. Alvaro had given up his independence as a fisherman to care for his arthritic father and then to care for Christina. In this composition, he seems barricaded in the kitchen while having thoughts of faraway events, perhaps the impending American invasion of Japan occurring at that time.
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Christina Olson (Back Door Porch), 1947
Myron Kunin Collection of American Art,
Minneapolis |

Wood Stove, 1962
Farnsworth Art Museum, Rockland, ME |
Christina Olson, (Back Door Porch), 1947 -- Wyeth recalls the day in 1947, "One day I came in and saw Christina on the back door step in the late afternoon. She had finished all her work in the kitchen and there she was sitting quietly, with a far-off look to the sea. At the time, I thought she looked like a wounded seagull with her bony arms, slightly long hair back over her shoulder, and strange shadows of her cast on the side of the weathered door, which had this white porcelain knob on it."
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Wood Stove, 1962 -- Wyeth said of this painting, "I wanted to make a record of the kitchen and the two sides of the [Olson] house. This [the window to the right] is facing the sea and here [at the left] she is facing the land. I wanted a record of the wood stove and all the things that I knew so well, her geraniums and so on. I was interested in the plate metal of the stove that gives off a hollow sound and feeling. This again goes back to my interest in metals and sounds, and the luster of metals,
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The Sauna, 1968 (with Siri Erickson)
Brandywine River Museum of Art, Chadds Ford, PA |

Indian Summer, 1970
Brandywine River Museum of Art, Chadds Ford, PA |
how they shine and don't shine. Its like all sorts of armor. ... It was at that time that the house was deteriorating very quickly. Window panes were dropping out and there were terrific drafts in it."
The Sauna, 1968 (with Siri Erickson) -- Andrew met Siri Erickson early in 1968. It might seem a sudden change to go from painting Christina Olson to Siri Erickson, but for Wyeth, it seemed quite natural. He set aside a focus on death, and said of Siri, "I've found something else that excites me. His first nude of Siri was in her family's old Finnish sauna.
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This portrait signaled a loosening in the reserve of Wyeth's art, although Wyeth himself saw a logic of presenting Siri disrobed in that setting. Wyeth did not publically exhibit this portrait for four years, 1973, when Siri had come of age. When Betsy Wyeth was not pleased with the intimacy suggested in his paintings of Siri, she firmly told Andrew, "If you do this again, don't tell me."
Indian Summer, 1970 -- An outdoor scene with Siri strikingly bathed in light with a muted outdoor background.
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Helga Testorf ... Even as Betsy spoke, back in Chadds Ford, Andrew was already painting his next model in secret, Helga Testorf, this time more dramatically, a more wholly erotic art. These paintings, done over a thirteen year period, were a total secret, kept from both Betsy Wyeth and Helga's husband, John.
At first, Helga's posing was done upstairs in the Kuerner house where she kept close to her duties tending to the needs of Karl Kuerner, dying of leukemia. She had never modeled before, but was quite comfortable posing for long hours. Wyeth panted her within deliberate limitations, unsmiling and passive, yet was able to capture subtle qualities of mood and character.
When finally made public, critics were not pleased. John Russell said
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Braids (Helga Testorf), 1977, Private Collection |
the show was "an absurd error," while Jack Flam called it "an essentially tasteless endeavor." As Wyeth approached the occasion of his 90th birthday, he was asked if Helga was going to be present. He responded,
"Yeah, certainly. Oh, absolutely," and went on to say, "She's part of the family now. I know it shocks everyone. That's what I love about it. It really shocks 'em."
Braids, 1977 -- Betsy Wyeth often pointed out that Andrew Wyeth's models were playing a part in a script. Each of his Helga paintings seems different because she is fullfilling a different role in each. Braids is an accurate portrail of Helga, something Andrew wanted to get down for the record. Yet, her realistic depiction still allows for Wyeth to create an American Mona Lisa, a woman who seems innocent, while at other times a provocative woman, at ease with the intimacy of having her face caressed by an obsessive, possessive artist.
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Lovers, 1981
The Andrew and Betsy Wyeth Collection |
Lovers, 1981 -- A frozen instant in time, but a moment which lasts an eternity. "That's what I'm after," said Andrew Wyeth. A dry leaf flies into the open window, but it's late fall or early winter, the barren trees outside, the cold penetrating the dark room. The secret of Andrew and Helga was strained at this time, and he wanted to preserve the moment.
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Dodges Ridge, 1946
Smithsonian American Art Museum
Washington, D.C. |

Pentecost, 1989
The Andrew and Betsy Wyeth Collection |

Night Sleeper, 1979
The Andrew and Betsy Wyeth Collection |
Dodges Ridge, 1946 -- Andrew's father N.C. Wyeth's car was hit by a train in October of 1945 in Chadds Ford. Of that time, Andrew later wrote, "I saw the country even more simplified and somber in quality." Andrew carried
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North Light, 1984
Brandywine River Museum of Art, Chadds Ford, PA |
his grief to Maine, and here painted a coastal farmer's wind-riven scarecrow, suggesting a long-forgotten grave.
Pentecost, 1989 -- "Once on Allen Island [in Maine] in early morning light there were fishnets hung to dry -- a whole feeling of shrouds -- a fateful quality, eerie feeling of a phantom -- the veil that Mad Marian wore. While I painted, I thought of Mad Marian, a young girl of Maine who fell in this roaring spout where the surf came in and out. It caught her and dragged her in. They couldn't save her, and she floated down past Allen Island to Pemaquid, and they picked up her body eight days later ... still draped in a long skirt. I kept thinking of that girl's body floating under water. The nets became her spirit. The nets were like fog. One was made of synthetic nylon and had a blueish cast. I tried doing it with a brush, but couldn't get the fineness, that strange cold blue. So I went to a very sharp pencil, scoring into gesso."
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Night Sleeper, 1979 -- Here, Wyeth's dog Nell Gwyn sleeps on a window seat. Later, Wyeth said the painting was an extension of his studies of Helga asleep. It is speculated that the dog's name, Nell Gwyn, secretly amused Weyth as his dog was named after Nell Gwyn, a mistress of Charles II. In the background of the right window, a train can be seen rolling out of the Brandywine Valley. At the time, Betsy had been feeling her husband slip away. In retrospect, she said of her relationship with Andrew during the Helga years, "the close relationship vanished, ever so slowly, vanished."
North Light, 1984 -- Here is Andrew Wyeth's painting of the north side of N.C. Wyeth's studio. He had built this studio with earnings from his first commission in 1911 for illustrations from Treasure Island. After N.C. Wyeth's death in 1945, the family maintained the studio as a shrine to his memory.
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The Carry, 2003
Private Collection |

Goodbye, 2008
The Andrew and Betsy Wyeth Collection |
The Carry, 2003 -- Andrew Wyeth was 86 when he painted this. The river's torrent and cascade symbolic of life's voyage and the quickening of one's days as the end draws nigh.
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What's showing in Bodega Bay? |
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Bodega Bay Heritage Gallery
featuring Joshua Meador and Linda Sorensen
and Historic Paintings of California
online only (and by arrangement)
http://www.BodegaBayHeritageGallery.com | Voicemail and Text 707-875-2911
email: Art@BodegaBayHeritageGallery.com
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"Composed by Ocean"
Joshua Meador |

Ren Brown |
The Ren Brown Collection
"Passages" Mixed Media Work by Jill Mellick
1781 Coast Highway One, Bodega Bay, 94923
707-875-2922 | rbc4art@renbrown.com
http://www.renbrown.com | Back to the Top |
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Pacific Bay Gallery
1785 Coast Highway One, Bodega Bay, 94923
Noki and Ron Jones, proprietors
707-875-8925 | Info@PacificBayGallery.com
PacificBayGallery.com | Back to the Top |
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Bodega Bay's Jean Warren Watercolors
NOW SHOWING ... Traveling Converstations, Sebastopol Center for the Arts, Galllery III through Feb 11
Bodega Bay resident Jean Warren says her paintings
are reflections of the places she has lived and traveled.
Jean is a signature member of the National Watercolor Society,
California Watercolor Association
and full member of Society of Layerists in Multi-Media. Visit Jean's site and view examples at the Healdsburg Center for the Arts
http://www.JeanWarren.com
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What's showing nearby?
in Sonoma, Napa & Marin Counties |

Landmark Gallery's
Lorenzo de Santis |
IN BODEGA Bodega Landmark Gallery Collection
including paintings by Linda Sorensen
17255 Bodega Highway Bodega, California USA 94922 Phone 707 876 3477
Fri-Mon, 10:30 - 5:30
http://www.artbodega.com | Lorenzo@ArtBodega.com | Back to the Top |
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IN SEBASTOPOL, Sebastopol Center for the Arts
home of Sonoma County's Art @ the Source and Art Trails
282 S. High Street, Sebastopol, CA 95472 707.829.4797
Hours: Tue - Fri 10am - 4pm, Sat & Sun 1 - 4pm
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Corrick's Keven Brown |
IN SANTA ROSA Corrick's Art Trails Gallery | http://www.corricks.com/arttrailsgallery
637 Fourth Street, Santa Rosa, CA 95401 | Contact:: http://www.corricks.com/contact-us
Corrick's has been a Santa Rosa Treasure since 1915,
a downtown stationery store serving the community's "cultural hub."
Corrick's has long supported local artists with its impressive "ART TRAILS GALLERY,"
including paintings by Linda Sorensen.
located on Fourth Street, steps away from Santa Rosa's revitalized town square
and Fourth Street's Russian River Brewery |
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Dennis Calabi
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IN SANTA ROSA Calabi Gallery | http://www.calabigallery.com
456 Tenth Street, Santa Rosa, CA 95401 | email: info@calabigallery.com | 707-781-7070
Famed master conservator Dennis Calabi brings his rare knowledge and experience
to present a tasteful and eclectic array of primarily 20th century artwork.
http://www.calabigallery.com | Back to the Top
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Easton, Crustacean Dancing Dream, American Alabaster |
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IN Santa Rosa The Annex Galleries
specializing in 19th, 20th, and 21st century American and European fine prints
The Annex Galleries is a member of the International Fine Print Dealers Association (IFPDA).
http://www.AnnexGalleries.com | Back to the Top |
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IN GRATON Graton Gallery
http://www.gratongallery.com
Graton Gallery | (707) 829-8912 | artshow@gratongallery.com
9048 Graton Road, Graton CA 95444 | Open Wednesday ~ Saturday 10:30 to 6, Sunday 10:30 to 4 |
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IN DUNCANS MILLS Christopher Queen Galleries
3 miles east of Hwy 1 on Hwy 116 on the Russian River
See their wonderful old California gallery upstairs.
http://www.christopherqueengallery.com |707-865-1318| Back to the Top |
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IN Healdsburg Paul Mahder Gallery
http://www.paulmahdergallery.com
(707) 473-9150 | Info@paulmahdergallery.com
222 Mill Healdsburg Avenue, Healdsburg, CA 95448 | Open Weds - Mon, 10-6, Sundays, 10-5 |
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IN Healdsburg Hammerfriar Gallery
http://www.hammerfriar.com
(707) 473-9600 | Jill@hammerfriar.com
132 Mill Street, Healdsburg, CA 95448 | Open Tues - Fri 10 to 6, Sat 10 - 5, Sun 12 - 4
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IN PETALUMA Vintage Bank Antiques
Vintage Bank Antiques is located in Historic Downtown Petaluma, corner of Western Avenue and Petaluma Blvd. It is listed on the National Register of Historic Places. Warren Davis and the rest of the team at Vintage Bank Antiques has assembled a spectacular inventory of paintings. From the 18th Century to Contemporary Artists. We have paintings to suit every price point and collector level.
If you have a painting for sale, please consider Vintage Bank Antiques. Contact Warren Davis directly at WarrenDavisPaintings@yahoo.com, 101 Petaluma Blvd. North, Petaluma, CA 94952, ph: 707.769.3097
Back to the Top |
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IN PETALUMA Petaluma Art Center
"... to celebrate local artists and their contributions and involve the whole community"
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Links to current museum exhibits relevant to Early California Art |
The Greater Bay Area |
The Walt Disney Family Museum
This museum tells Walt's story from the early days.
(on the Parade Grounds) 104 Montgomery Street,
The Presidio of San Francisco, CA 94129
Special Exhibition ... "Awaking Beauty,
The Art of Eyvind Earle ... through Jan 8, 2018
-- view location on Google Maps --
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San Francisco
de Young Museum
"Teotihuacan: City of Water, City of Fire"
through Feb 11
Permanent Collection
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San Francisco
California Historical Society
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San Francisco
Legion of Honor
-Permanent European and Impressionist Paintings
"Klimpt and Rodin: An Artistic Encounter"
Oct 14-Jan 28 |
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San Francisco
Contemporary Jewish Museum
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Oakland
Oakland Museum of California
-- ongoing Gallery of California Art
-showcasing over 800 works
from the OMCA's collection
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San Francisco
SFMOMA
http://www.sfmoma.org |
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Santa Rosa
The Museums of Sonoma County |
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Santa Rosa
Charles M. Schultz Museum
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Moraga
St Mary's College Museum of Art
Hearst Art Gallery
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Sonoma
Mission San Francisco de Solano Museum
featuring the famed watercolor paintings
of the California Missions
by Christian Jorgensen |
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Sonoma
Sonoma Valley Museum of Art
551 Broadway, Sonoma CA 954
(707) 939-7862 |
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Ukiah
Grace Hudson Museum
http://www.gracehudsonmuseum.org |
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Bolinas
Bolinas Museum
featuring their permanent collection,
including Ludmilla and Thadeus Welch,
Arthur William Best, Jack Wisby,
Russell Chatham, Alfred Farnsworth. |
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Walnut Creek
The Bedford Gallery, Lesher
Center for the Arts |
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San Jose
San Jose Museum of Art
approximately 2,000 20th & 21st
century artworks including paintings, sculpture,
new media, photography, drawings, prints, and artist books. |
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Monterey
Monterey Museum of Art
Ongoing exhibitions ...
Museums Permanent Collection
including William Ritschel and Armin Hansen
http://www.montereyart.org |
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Palo Alto
Cantor Art Center at Stanford University |
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Monterey
Salvador Dali Museum
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Sacramento
Crocker Art Museum
& their marvelous Permanent Collection |
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Sacramento
Capitol Museum
Governor's Portrait Gallery
Permanent Exhibits
(including one of our galllery's favorite artists,
Robert Rishell's portrait of Gov. Ronald Reagan |
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Stockton's Treasure!
The Haggin Museum
-Largest exhibition of Albert Beirstadt paintings anywhere,
plus the works of Joseph Christian Leyendecker,
Norman Rockwell's mentor.
see our Newsletter article, April 2011 |
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Southern California (and Arizona) |
Los Angeles
Los Angeles Museum of Art
Art of the Americas, Level 3:
Artworks of paintings and sculptures
from the colonial period to World War II—
a survey of of art and culture
& "Levitated Mass" |
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Irvine (NOW part of UC-Irvine)
The Irvine Museum
"Moods of California"
through Feb 8
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Santa Barbara
The Santa Barbara Museum of Art |
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Orange
Hilbert Museum, Chapman University
The Hilbert Collection focuses
on California Scene Painting,
including most well known
20th century California watercolor artists
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Pasaden
Norton Simon Museum
-an Impressive Permanent collection,
European impressionist and post impressionist paintings
See our newsletter from March 2014 |
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Pasadena
Pasadena Museum of California Art
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San Diego
San Diego Museum of Art
Permanent Collection |
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San Marino (near Pasadena)
The Huntington Library
American Art Collection
Paintings by John Singer Sargent,
Edward Hopper, Robert Henri,
Albert Bierstadt, Thomas Moran,
William Keith, Mary Cassatt,
Thomas Hart Benton and many more. |
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Palm Springs
Palm Springs Art Museum
Permanent Collection
American 19th century Landscape Painting |
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Laguna Beach
Laguna Museum of Art
-California Art and only California Art
Permanent collection includes many historic
California Artists of the Laguna Beach Art Association
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Prescott, AZ
Phippen Museum |
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Phoenix, AZ
Phoenix Art Museum
an excellent sampling of
Artists of the American West |
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& Beyond |
Honolulu, HI
Honolulu Museum
(see our Newsletter article
from February, 2015)
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Kamuela, HI (Big Island)
Issacs Art Center
65-1268 Kawaihae Road
Kamuela, HI 96743
(See our Dec '16 article "Hawaii's Paul Gauguin,"
modernist Madge Tennent, 1889-1972)
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Seattle, WA
Seattle Art Museum |
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Portland, OR
Portland Art Museum
Permanent Collection: American Art
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Washington D.C.
The Renwick Gallery
Permanent ... Grand Salon Paintings
from the Smithsonian American Art Museum |
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Chicago, IL
Art Institute of Chicago
Permanent collection:
the Impressionists |
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Cedar Rapids, IA
The Cedar Rapids Museum of Art
Grant Wood: In Focus
is an ongoing permanent collection exhibition. |
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Bentonville, AR
Crystal Bridges
Museum of American Art
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Washington D.C.
The National Gallery
Permanent collection
American Paintings |
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Philadelphia , PA
The Philadelphia Museum of Art |
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Philadelphia , PA
Barnes Foundation, Philadelphia Campus |
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Brooklyn, NY
The Brooklyn Museum
American Art
Permanent Collection |
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New York , NY
The Whitney Museum of American Art
The largest selection of works by Edward Hopper |
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Detroit, MI
Detroit Institute of Arts
American Art
Permanent Collection |
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Ottawa, Ontario
National Gallery of Canada |
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