Tag Archives: New York City

ArteFuse Highlights Jack Martin Rogers: Odyssey

The Anita Rogers Gallery in Soho is currently presenting a collection of work by Jack Martin Rogers for an exhibition entitled Odyssey. The show is the first U.S. solo exhibition of work by the late British painter and features a collection of his drawings and paintings throughout his career spanning 40 years. Rogers spent most of his life studying the relationship between time and its role in human experience and he also believed that the only way to move forward in creating art is to appreciate and learn from contributions of the past. He captures this belief in his work, which presents traditional subjects, such as classical and religious architecture, alongside modern ones.

JMR 026One of the artist’s most significant works on display is a large-scale six-part canvas painting of Knossos, the largest Bronze age archaeological site in located on the Greek Island of Crete. In this painting, Rogers pulls the ancient ruins from the past into the present by using abstract designs such as the periwinkle-blue floral patterns that frame the image and bold colors including the bright and dark shades of green on the surrounding grass.

Other notable works in the show include Rogers’ portraits which are meaningful character studies. One of the most notable of the pieces is a painting entitled Rosemary which evokes a sense of solitude as it depicts a young woman standing against an azure-blue colored background wearing a long, silky dress with shades of pink, purple, and blue. Her head is turned away from the viewer as her long, silky black hair hangs freely. She appears deep in thought as she holds a triangular artifact in one hand and a rectangular artifact in the other and rubs the two pieces together. Other portraits and character studies in the show include sketches such as Pencil Portrait, depicting a 19th-century style woman with her hair in a bun and wearing an old-fashioned dress, and the sketch Greek Papas depicting an older Greek gentleman with a long, thick white beard and small black hat gazing up and out into the distance.

Another noteworthy aspect of the show is the fact that some of Rogers’ paintings like Cretan Girl and Rhodes have clear outlines and shapes while others like Reclining Nude and Warwick have a more ethereal quality. Cretan Girl depicts a young girl wearing a pale blue dress with black and white stripes standing tall with her hands by her waist and as she her balance as while walking along the smooth edge of a rocky wall. Behind her leg is a figure of a vase and the background image consists of an orange circle covering nearly half the page depicting sunshine. The painting entitled Rhodes captures the classic landscape and architecture of Greece and its islands depicting a group of towers and dome-topped buildings surrounded by tress including one palm tree. A similar painting entitled Warwick also depicts a city but is painted in a dreamier matter. Reclining Nude is also painted in this same, elegant style featuring a young woman lying on her bed unclothed. The soft pales colors used such as the pure white of the bed, the skin color of the woman, and her golden blonde hair contrast with the black background.

Rogers was born in Warwickshire, England in 1945 and was classically trained in anatomy and fine art at the Birmingham School of Art where he developed his meticulous methods. He began his career creating a large body of preparatory drawings before moving on to paintings, offering the viewer a rare glimpse into his process. Rogers moved to Crete in 1962, which was his most successful and prolific period. Many of the works featured in the exhibition come from his time in Greece as he was greatly inspired by the landscape there, and was also inspired by classical literature and music. He died in 2001, leaving behind an extraordinary body of work.

-Alison Martin

JackMartinRogersSpace_032Visit the gallery’s website.

Read the full article on ArteFuse.com

Fine Art Connoisseur Reviews Jack Martin Rogers: Odyssey

An Odyssey on View

Andrew Webster

Anita Rogers Gallery is proud to be currently presenting “Odyssey,” a selection of drawings and paintings by British painter Jack Martin Rogers (1945-2001). Anita Rogers, the gallery’s owner and director, is the daughter of the artist and was raised across England, Turkey, Italy, and Greece, countries that deeply influenced her father’s work.

On view now through December 30, “Odyssey” cannot be described as anything but a perfect, intimate look into the life and career of British painter Jack Martin Rogers. That’s because the exhibition’s host, Anita Rogers of Anita Rogers Gallery (New York City), witnessed first-hand her father’s inspiration as the family migrated across Europe.

Visit the gallery’s website.

View the full review on FineArtConnoisseur.comJMR 011

Wall Street International Recommends Jack Martin Rogers: Odyssey

JMR 013The works in the exhibition span a period of over forty years, from some of the artist’s earliest work during art school to his final masterpieces. Throughout his life, Rogers continually examined the complex notion of time and its role in the human experience. He believed forward movement and discovery are accomplished through examining history and creating relevance from the past within the present.

View More on WSIMag.com

Learn more about Jack Martin Rogers at AnitaRogersGallery.com

Jack Martin Rogers: Odyssey Featured on ArtDaily.Org

JMR 014NEW YORK, NY.- Anita Rogers Gallery is presenting Odyssey, a selection of drawings and paintings by British painter Jack Martin Rogers (1945-2001). Anita Rogers, the gallery’s owner and director, is the daughter of the artist and was raised across England, Turkey, Italy and Greece, countries that deeply influenced her father’s work. Anita now owns seventy-five percent of his estate. This is the artist’s first major solo exhibition in the U.S. The collection is on view November 16 – December 30, 2017 at 15 Greene Street, Ground Floor in SoHo, New York.

View the full post on ArtDaily.Org

View more about the exhibition on Anita Rogers Gallery’s website. 

A Scottish Castle Fit for Interior-Design Royalty

Farrow & Ball co-owner Tom Helme transforms an Edwardian estate into a modern yet historically resonant family home

Scotland is a place shaped by myth and legend, where every crag and castle tells a story. On the remote Kintyre peninsula, nestled among rural farms and the west coast’s pounding waves, one rambling property has the sort of dreamlike atmosphere that feels straight out of a fairytale.

“While its remoteness is a refuge, its great beauty is a neverending source of happiness,” says Tom Helme, the former decoration advisor to the National Trust and onetime co-owner responsible for reviving cult-favorite paint company Farrow & Ball, who purchased the 7,500-acre Carskiey estate with partner and design collaborator Lisa Ephson on more than just a whim. Helme had grown up holidaying in Scotland, and he almost closed on a similar home in the area years earlier. “Tom was looking for somewhere where proper farming communities still survive, within view of the ocean—not to mention the incredible light that the west coast of Scotland is famous for,” says Ephson of the cliffside property, whose nine miles encompass a 1908 Edwardian mansion, a shore cottage, and an Aberdeen Angus cattle farm that abut the sea.

article by Jennifer Fernandez for Architectural Digest

Read the full article on British American Household Staffing’s blog. 

Jack Martin Rogers: Odyssey | Anita Rogers Gallery

There is a land called Crete, in the midst of the wine-dark sea, a fair, rich land, begirt with water, and therein are many men, past counting, and ninety cities.

– Homer, The OdysseyJMRMailchimp

Anita Rogers Gallery is proud to present Odyssey, a selection of drawings and paintings by British painter Jack Martin Rogers (1945-2001). Anita Rogers, the gallery’s owner and director, is the daughter of the artist and was raised across England, Turkey, Italy and Greece, countries that deeply influenced her father’s work. Anita now owns seventy-five percent of his estate. This will be the artist’s first major solo exhibition in the U.S. The collection will be on view November 16 – December 30, 2017 at 15 Greene Street, Ground Floor in SoHo, New York.

The works in the exhibition span a period of over forty years, from some of the artist’s earliest work during art school to his final masterpieces. Throughout his life, Rogers continually examined the complex notion of time and its role in the human experience. He believed forward movement and discovery are accomplished through examining history and creating relevance from the past within the present.  Rogers spent much of his life studying scientific ideas relating to time and considering how certain discoveries would alter perception and the potential impact of these alterations. His life’s work was dedicated to studying the concept of human identity within the realms of modernity and progress; he firmly believed that the only way forward is to embrace and learn from, rather than reject, the contributions of the past. This dichotomy is captured in his work, which presents traditional subjects, such as classical and religious architecture, alongside modern ones. One of the artist’s most significant works is a large format, six-part canvas painting of Knossos, the largest Bronze age archaeological site in Crete. In this painting, Rogers pulls the ancient ruins from the past into the present by using bold colors and abstract motifs.

The artist defies categorization as “abstract” or “figurative”; he moved through both genres seamlessly during his life, often merging the two. Even his wholly representational paintings touch on philosophical ideas. The figures are not static in any one time or place but rather are symbols; they act as stand-ins for men passing through time and examining history. While often addressing traditional subject matter, the works remain contemporary and relevant.

Rogers was born in Warwickshire, UK in 1945. He was classically trained in anatomy and fine art at the Birmingham School of Art. There, he developed his meticulous methods. He worked on extensive preparatory drawings before beginning his paintings; a selection of these will be included in the exhibition, offering a rare glimpse into the artist’s process. The artist moved to the Greek island of Crete in 1962, where he entered his most prolific artistic period; many of the works featured in the exhibition are from this time. He was heavily inspired by the landscape of Greece, as well as by classical literature and music; in fact, Rogers himself was an exceptional musician and often made his own instruments. He died in 2001, leaving behind an extraordinary body of work.

View more on the gallery’s website.

JMR-001-Andros

Five Things To Avoid When Sleep Training Your Baby

By Norine Dworkin-McDaniel from Parents Magazine

When my son, Fletcher, was around 8 months old, I started dreading bedtime. Each night I’d steel myself as I put him in the crib, where he’d start wailing like an abandoned child. Even though I knew that he was fine — not hungry or thirsty or wet or sick — this drama broke my heart. I often caved and brought him back downstairs, letting him snooze with my husband and me while we hung out on the couch. Despite my good intentions, I’d fallen into a classic sleep trap like so many rookie parents.

“Moms feel terrible about letting their baby cry,” says Heather Wittenberg, Psy.D., a child psychologist on Maui. “Many say, ‘I’m not going to be like my mother and put my baby in the crib, close the door, and ignore her wails.’ But some of us take it too far and think it’s awful for babies to ever cry. Then we end up with a sleep problem.”

Did we ever! I needed guidance — and maybe some backbone. Sound familiar? Learn gentle yet effective techniques for getting out of this and other sleep snags.

Find out how your baby is developing.

Read the full post on British American Household Staffing’s website: http://bahs.com/news/detail/five-things-to-avoid-when-sleep-training-your-baby

Get the Royal Treatment at Provence’s Historic Château Fonscolombe

Queen Elizabeth stayed in this opulent 18th-century estate—and now you can too.

Ensconced in the heart of Provence’s mystical wine country sits a stately residence, home to the Marquis de Saporta and his family for more than 300 centuries. The collection of fountains, stone sculptures, and ancient arboretum pepper the grounds, serving as a reminder of the grandeur of this estate and the lavish parties once held there. As a private château, only royals, VIPs, and dignitaries—most notably Queen Elizabeth—were privy to an overnight stay.

Then, in June 2017, after 18 months of construction and painstaking renovation, Château Fonscolombe was reborn as a 50-room hotel, opening its storied doors to a new generation of discerning guests. Built in the Italian Quattrocento style popular during the 18th century, the main estate features 13 chateau-style bedrooms, each are adorned with a wide spectrum of period touches, from ornate ceiling detailing and hand-painted Chinese wallpaper to chiseled frescos, manicured lawns, Genoa leather tapestries and original terracotta-hued floor tiles. There’s also a small spa (located in the castle’s former boudoir), a winery (dating back to Roman times), and sprawling gardens set over more than 20 acres.

View the full post on British American Household Staffing’s blog.

article by Jessica Benavides Canepa for Robb Report

Joan Waltemath in Conversation with Christine de Lignieres on The Finch

Joan Waltemath sat down with Christine de Lignieres for TheFinch.Net to discuss her work, philosophy, life and death. Waltemath’s drawings are on view at Anita Rogers Gallery through November 11, 2017.

Christine de Lignieres: Your work is visually related to a high — modernist formalism that includes Bauhaus, De Stijl, Mondrian … to aesthetic movements, at a certain period in history. Do you feel a kinship with those artists?

Joan Waltemath: I don’t really approach my work stylistically in relation to Modernism because the kind of geometry that I’m working with is so old, and I mean mostly it’s been used in architecture. If you look at plans from Gothic and Romanesque churches, from the pyramids, the Ziggurats — these geometric forms obey certain mathematical laws of nature. That’s the basis of the grid I work on using harmonic ratios. The lineage of modernism is something that I’m obviously in tune with, but my focal point is more on the timeless nature of the geometry itself and how it’s able to open certain doors of perception.

When I was growing up in Nebraska, the things I looked at were the Plains Indian beadwork and painted hides. I remember that many people were really astounded by the beauty of the Plains Indian show at the MET a couple of years ago and for me that was also a great moment, but a very familiar one that had already impressed me. I could identify most of the pieces in the show, whether I had seen them before — or only in books and often I would know what museums they are in or what part of the country or world. The Plains Indian works and ceremonial objects are really my deepest connection to art. There’s a certain dichotomy between their apparent resemblance to modernism and their actual roots in a much more ancient worldview — and that is true of my own work to some degree as well.

Read the full interview on TheFinch.net