Category: Art History

The 10 Artists Who Changed Art History Forever, Pt. 2

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To top off our list of art history’s most influential players (click here for part 1), we had to make some tough decisions. Would Monet still be known today if not for a fateful trip to the seashore with Boudin? Who had a greater influence on abstract expressionism: Pollock or De Kooning? Browse our choices and let us know if you agree or disagree in comments below or on Facebook, Twitter and Pinterest.

Eugene Boudin, click the image to read the Matthews Gallery blog
Trouville, Eugene Boudin

 6. Eugene Boudin (1824-1898)

French painter Eugene Boudin grew up riding across the English Channel on his father’s steamboat between his home village of Honfleur and the city of Le Havre. Boudin’s mother put an end to the voyages when the young boy nearly drowned, and the family moved to Le Havre to open a picture frame shop. Perhaps it was these early years at sea—and that terrifying dip in the tumbling waves—that drove Boudin to create the small but dynamic compositions that would directly inspire Impressionism.

As a young man Boudin opened his own framing shop and showed work by artists such as Constant Troyon and Jean-Francois Millet. At 22 he started painting full-time, capturing coastal scenes with an impeccable eye for light and a keen interest in the social interactions of beach-goers. He was greatly influenced by the 16th century Dutch masters, and was one of the first French painters to work in the outdoors.

Boudin moved to Paris on a scholarship when he was 23 and soon met the teenage Claude Monet. Monet was working as a caricaturist on the streets of Paris, but Boudin convinced him to travel to Normandy and paint en plein air. In 1874 Boudin showed work in the first Impressionist exhibition alongside Monet’s pivotal Impression, Sunrise, which was painted in Le Havre and inspired the name of the new movement. Without Boudin’s encouragement, Monet may never have moved past charcoal.

Pissarro, click the image to read the Matthews Gallery blog
Two Women Chatting by the Sea”, Camille Pissarro

 7. Camille Pissarro (1830-1903) 

Picasso and Matisse called Paul Cezanne “the father of us all”, but there’s always a mentor behind a master. Cezanne was heavily influenced by Danish-French Impressionist and Neo-Impressionist painter Camille Pissarro. “He was a father for me,” Cezanne said. “A man to consult and a little like the good Lord.”

Pissarro grew up on the island of St. Thomas in the Danish West Indies and attended a boarding school near Paris. In school he studied the French masters and excelled at drawing and painting. He moved to Paris in 1855 to apprentice with Anton Melbye and Jean-Baptiste-Camille Corot. While Corot worked on his paintings in the studio, Pissarro insisted on painting en plein air and often finished works in one sitting.

The artist was criticized for his technique, which often exposed the rougher, less picturesque side of the French landscape, but his quick, intuitive methods attracted a small group of artists who would soon be known as the Impressionists. Pissarro became their patriarch, and was the only artist to participate in all eight Impressionist exhibitions. However, it was his switch to Neo-Impressionism at 54 and his great influence on Post Impressionism that landed him on this list. Pissarro’s impulse to look deeper into the landscape and trace every rough edge would inspire Seurat, van Gogh, Gauguin and Cezanne in their revolutionary explorations of perspective that would fracture (and eventually completely dissolve) the classical picture plane.

Pablo Picasso, click the image to read the Matthews Gallery blog
Dora Maar au Chat, Pablo Picasso

 8. Pablo Picasso (1881-1973) 

Pablo Picasso is arguably the most famous—and prolific—artist of the 20th century. He created roughly 13,500 paintings and hundreds of thousands more prints, engravings, illustrations and sculptures over the course of his 75-year career. Though he’s famous for co-developing Cubism, it was his explorations into all corners of the plastic arts that made him so influential. No matter the medium or style, Picasso had a hand in radically changing it all.

The artist was born in Malaga, Spain. His father was a professor of art who began formally training his son from a very young age. By 16, Picasso had gained entrance to the prestigious Royal Academy of San Fernando. In the early 1900s he moved to Paris, where he met art collector Gertrude Stein and many of the most famous artists of the time. He started working with Georges Braque in 1909, and the close friends developed a style that pushed Cezanne’s explorations of multiple perspectives to new extremes.

Cubism encouraged artists to analyze objects and break them into thousands of pieces, and similarly shattered the art world into myriad Modernist movements from Futurism to Constructivism.

Pollock, click the image to read the Matthews Gallery blog
No. 5, 1948, Jackson Pollock

9. Jackson Pollock (1912- 1956) 

Jackson Pollock was called “Jack the Dripper” and “The Worst Living Artist in America” by the media, and a large slice of the public saw him as a reclusive drunkard who dealt the killing blow to order and sense in art. Sometimes when you’re drumming up an art revolution, things have to get messy.

Pollock grew up the youngest of five brothers in Arizona and California. He and his brother Charles moved to New York City in 1930, where he studied at the Art Students League and worked for the WPA Federal Art Project. In 1936 he took an experimental workshop on liquid paint that would later influence his famous drip paintings. Under the watchful eyes of collector Peggy Guggenheim, art critic Clement Greenberg and his wife Lee Krasner, who he married in 1947, Pollock would become the figurehead of the Abstract Expressionist movement and radically change the world’s definition of art.

Greenberg saw Abstract Expressionism as the final step in painting’s inevitable reduction to its most essential elements. There was an unmatched purity to Pollock’s atmospheric, gravity free color fields that only the eye could traverse. “Jackson was the greatest painter this country has produced,” Greenberg mused. Whether you agree with the critic or not, Pollock undoubtedly subverted figurative painting in an unprecedented way, and changed art history in the process.

Andy Warhol, click here to read the Matthews Gallery blog
Marilyn Monroe, Andy Warhol

10. Andy Warhol (1928-1987) 

Andy Warhol was born in Pittsburgh, Pennsylvania to Austro-Hungarian immigrants. In third grade he developed Sydenham’s Cholera, a disorder of the nervous system that left him bedridden for months at a time. Isolated from his peers, the shy child became a voracious student of pop culture. Just a few years later he would build his own towering pedestal using the very figures and symbols that he pinned on his bedroom walls.

Warhol graduated from high school in 1945 and attended the Carnegie Institute of Technology for commercial art. In 1949 he moved to New York City, where he worked in the publishing and advertising industries and got his Bachelor of Fine Arts degree in pictorial design. In the 1950’s RCA records hired Warhol as a designer, where he pioneered innovations in various image-making techniques, most notably in screen printing. At the same time he was using similar processes—and subject matter—in his fine art, which he showed in galleries around New York. It was an approach to art that offended many critics at the time, who accused Warhol of succumbing to the homogenizing forces of consumerism.

This was Warhol’s true impact on art history: to show contemporary artists that they couldn’t avoid or ignore the foundational social changes affected by the mass media. Whether he was exploring identity, vanity, sexuality, fame or nothing at all, Warhol was molding the mercurial landscapes of Modern and Postmodern art.

Don’t forget to read part 1 of this series, and connect with us on Facebook, Twitter and Pinterest to let us know who you would choose!

The 10 Artists Who Changed Art History Forever, Pt. 1

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Over the next two weeks, we’re paying tribute to 10 painters who changed the course of art history. Our first five picks range from Il Divino to the “painter of light”. Who do you think we missed? Connect with us on Facebook, Twitter and Pinterest to join the discussion, and click here to read part 2!

Giotto, "The Kiss of Judas"
Giotto, The Kiss of Judas

1. Giotto (1266/7-1337)

The Italian painter and architect was most likely born in Florence, the city where he would live and work for his entire life. Legend has it that the young Giotto was herding sheep and stopped to sketch the animals on a rock when famous Tuscan painter Cimabue strolled by and took him as an apprentice. One of art history’s most passionate debates centers on whether Giotto completed parts of Cimabue’s frescoes at Assisi. Regardless, it was Giotto’s break from the traditions of Cimabue and his contemporaries that helped spark the Italian Renaissance.

In Giotto’s frescoes at the Scrovegni Chapel, the stylized Byzantine figures that were popular at the time are nowhere in sight. His figures are solid and sculptural, their robes draping naturally from their frames. This is a painter who drew inspiration from what his eyes could see. 16th century biographer Giorgio Vasari wrote that Giotto started “the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years.”

The Matthews Gallery, Michelangelo
Michelangelo, The Last Judgment

2. Michelangelo (1475-1564) 

In contrast with Giotto, this prolific sculptor, painter, architect, poet and engineer left behind a paper trail that makes him one of the most well-documented artists of his time. Michelangelo completed the Pieta and David before he turned 30 and redesigned part of St. Peter’s Basilica at 74. In between, he completed the ceiling frescoes of the Sistine Chapel, spent 40 years creating Pope Julius II’s tomb and worked on a multitude of other projects. Even in his time he was known as Il Divino, “the divine one”.

The Last Judgment fresco on the altar wall of the Sistine Chapel, one of Michelangelo’s final works, is the fulfillment of Giotto’s artistic legacy. His massive figures seem to press from the wall with all of the terriblita (awe-inspiring grandeur) of living giants. Giorgio Vasari, who wrote a biography of Michelangelo during his lifetime, called the artist’s works the apex of the Renaissance. They also inspired Mannerism, the movement that proceeded the Renaissance in Western art.

The Matthews Gallery, Caravaggio
Caravaggio, David with the Head of Goliath

3. Caravaggio (1571-1610) 

It’s no secret that Caravaggio was an unpleasant guy. A public notice from 1604 accused him of crashing gatherings armed with a sword, “ever ready to engage in a fight or an argument, so that it is most awkward to get along with him.” Perhaps that’s why he was swiftly forgotten after his death in 1610 and wasn’t recognized for his great influence on art history until three centuries later.

The artist was born in Milan and grew up in the city of Caravaggio. His parents were both dead by his teen years so he started an apprenticeship with painter Simone Peterzano, who was Titian’s pupil. He moved to Rome in 1592 and rose to fame as he developed the style that would come to define Baroque painting. His figures were incredibly realistic, their skin pocked, their feet dirty and their faces full of emotion. They were illuminated by high key chiaroscuro lighting. Caravaggio fearlessly placed the common people in the spotlight, a coup that would serve the Counter-Reformation well.

The Matthews Gallery, Velazquez
Velazquez, Las Meninas

4. Velazquez (1599- 1660) 

Diego Velazquez’ oeuvre mostly consists of pompous portraits of the Spanish royal family and other powerful and privileged Europeans. It was a twisty play on this genre that would secure his place in art history. Velazquez was born in Seville and educated well. He worked his way up the ranks of painters in his hometown and then hopped to Madrid, where a connection with the king’s chaplain and the timely death of the Spanish royal court painter helped him land the coveted position in 1624.

Four years before his death, Velazquez painted his masterpiece Las Meninas. The painting shows Spanish princess Margaret Theresa standing next to the painter himself, who’s working on a large canvas. In a mirror behind them are the faces of the king and queen. The sophisticated work’s bifurcating viewpoints throw its true subject into question and place Velazquez far ahead of his time. More than two hundred years later the painter’s work would inspire the Realists, the Impressionists and the Modernists.

The Matthews Gallery, JMW Turner
JMW Turner, Rain, Steam and Speed

5. Turner (baptized 1775-1851) 

JMW Turner was known as the “painter of light”, but the artist with the ethereal subject matter had a very solid impact on art history. The Romantic landscape painter was born in London to a barber and wig maker. He showed his drawings in his father’s shop as a young boy, and studied under architects and a draftsman before enrolling in the Royal Academy of Art as a 14-year-old. His reputation swiftly grew, and he had his own studio by 18. However, when he verged away from picturesque landscapes in favor of stormier subject matter, Protestant society was shocked.

In his famous oil Rain, Steam and Speed, Turner depicts a locomotive as a surging pillar of tumbling air with a black smokestack as its only identifying characteristic. As details melted away and Turner focused on the continuous flux of air and light, critics started turning against the artist. An 1802 review called his works “too indeterminate and wild”, and writers were keen to tie his chaotic paintings to radical new political and social movements. Turner became increasingly isolated from society and often refused to sell his paintings, but his work had an undeniable influence across Europe, inspiring Claude Monet and other French artists in their steps toward Impressionism.

Sound off on Facebook, Twitter and Pinterest and tell us who we missed, and click over to part 2 for our last five picks.

THE MATTHEWS GALLERY: Arc of Art History

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"Stride", Jamie Chase, Matthews Gallery
“Stride”

When Santa Fe visitors step into the Matthews Gallery, they often mention that something feels different. Our gallery location is in a historic adobe on Canyon road just like many of the other galleries so we have a hunch that the novelty they’re sensing is our devotion to carefully curating every wall of our gallery.

We show work from the 19th, 20th and 21st centuries. Our curatorial direction is to exhibit a variety of work from these eras that relate to the artistic development from impressionism to contemporary art. Here are some of the names that you won’t see anywhere else on Canyon Road—or even elsewhere in Santa Fe:

Head of Baby with Finger in Mouth, Mary Cassatt, Matthews Gallery
“Head of Baby with Finger in Mouth”, Mary Cassatt

Mary Cassatt (1844-1926) ~ The American painter and printmaker was refused entry to the Ecole des Beaux-Arts, so she studied the masters on her own at the Louvre. She would become a master herself, named one of “les trois grandes dames” of Impressionism by Gustave Geffroy.

"Les Saltimbanque", Pablo Picasso, Matthews Gallery
“Les Saltimbanque” by Pablo Picasso

Pablo Picasso (1881-1973) ~ Several works by the most influential artist of the 20th century have passed through the Matthews Gallery. Our most notable current work by Picasso is “Les Saltimbanque”. The drypoint etching the artist created as a teenager shows the harlequin, a personal symbol that would recur in his work throughout his career.

"Composition aux deux Personnages", Fernand Leger, Matthews Gallery
“Composition aux deux Personnages” by Fernand Leger

Fernand Leger (1881-1955) ~ The painter, sculptor and filmmaker’s lithograph “Composition aux deux Personnages” marked a shift in his oeuvre from Cubism to bold figurative works that would later identify him as a forerunner of Pop Art. As is the fate of all art movements, Picasso and Braque’s Cubism were irrevocably fractured.

"Blue Nude", Harold Frank, Matthews Gallery
“Blue Nude” by Harold Frank

Harold Frank (1917-1995) ~ Born in Southampton, England, Frank’s family moved to New York when he was a child. You can see influences from both shores in his colorful canvases that take cues from modernism and abstract expressionism.

"Alic", Enrique Echeverria, Matthews Gallery
“Alic” by Enrique Echeverria

Enrique Echeverria (1923-1972) ~ Echeverria and his contemporaries brought the ideas of modern European art movements to Mexico and subverted the traditional figurative painting style. They became known as the Generacion de la Ruptura, the Rupture Generation.

"Avian Keepers", Robert W. Hinds, Matthews Gallery
“Avian Keepers” by Robert W. Hinds

Robert W. Hinds (1924- present) ~ This World War II veteran was born a year after Echeverria. He had a successful graphics career for years before moving to Europe to study casting techniques in Italy and Bologna. Now he produces figurative bronze sculptures that are collected throughout the world.

"Untitled Grey Nude on Orange", Jamie Chase, Matthews Gallery
“Untitled Grey Nude on Orange” by Jamie Chase

Jamie Chase (1954- present) ~ The painter and graphic novelist was born in California, and traveled to Europe to educate himself on the work of the masters. He moved to Santa Fe in 1980, where he’s now known for his non-objective paintings, abstract landscapes and abstracted figurative paintings.

Browse all of the artists we represent here, and follow our Facebook and Twitter accounts for updates on their work. 

The Architect’s Secret

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If you’ve spent any time in Santa Fe, you’ve probably seen something John McHugh made. The young architect was passing through Santa Fe on a cross-country road trip in 1946 when his Ford broke down.

He took a job at a local architecture firm so he could earn enough to fix it. Ten years and several cars later, he started his own company with Van Dorn Hooker and won commissions for the first Santa Fe Opera House, the remodeling of the parish hall at St. Anne’s Church and the Kearny School, among many others.

While John’s largest works are still viewed by thousands of people each year (save the opera house, which burned down and was reconstructed), some of his most colorful creations have been hidden away since his death in 1995.

“Come in, come in,” says John’s widow Gillian when she opens the door to the home they shared. She points me past the living room where a Gustave Baumann painting hangs and down a hallway that leads to a sprawling room. Leaning against every vertical surface are dozens of canvases that will soon grace the walls of the Matthews Gallery.

“When we first moved here, he converted the garage into his studio right away,” Gillian says. There are still traces of the artist all around the room. Tins full of brushes sit on a tabletop, a near-empty cigar box is perched on the mantle and one painting is still on its easel. Hidden in a stack of dusty pictures next to the window is an old invitation to an exhibition of John’s work at St. John’s College, one of the only shows he ever had. Most of the paintings in our exhibition of his work, starting Friday, March 15, have never been seen by the public.

“I felt that it was extremely important to have a show,” Gillian says. “These paintings shouldn’t just be gathering dust.”

John’s path was always architecture, but art naturally came along with it. He was orphaned at 7 years old and spent the rest of his childhood under the care of his aunts in Springfield, Ohio. Though money was tight, he used his earnings as a paperboy to plant a garden in his yard. He graduated cum laude in architecture from the University of Notre Dame in the 1941, and took an apprenticeship in Ohio before serving in the Air Force.

When John returned, he taught in the art department at Notre Dame for two years before heading off on the fateful road trip that would land him in Santa Fe. Gillian and John met in 1953 and married a year later. She’s an acclaimed pianist who was born in Great Britain and traveled to Santa Fe with the International Scouting organization in the early 1950s. While Gillian practiced for hours at her piano, she remembers John spending every spare moment with brush or pencil in hand.

“He would come back from the office and go in the studio. It was very simple,” she says. “He loved painting. He would stand there the entire evening at his easel. He loved the shapes and patterns and colors.”

John’s oeuvre is captivating in its diversity. As I explore his studio, I find landscapes and abstract paintings, a work that was inspired by cubism and another that looks to have been done with Cezanne in mind. One dramatic landscape is signed Baumann-McHugh, and was started by the former and finished by the latter. The thread that ties it all together was John’s strong emphasis on the framework of whatever he was portraying. You can see the hand of an architect in the bold patterns he employed again and again.

“I think the architecture does enter into his paintings a good deal, because of the form and shape that he was always working with, and the fascination with that,” Gillian says. “It could be from anything. It could be something growing by the wayside or it could be a giant building.”

On drives around New Mexico, John would often park the car and pull out his sketchbook. “He’d stop in the middle of nowhere,” Gillian remembers. “If there was a telephone pole that he liked, he’d get out and say, ‘Do you mind if I just draw this?’ All of a sudden half an hour later… something really wonderful would come out of the shape or color.”

All of John’s creative endeavors came to an abrupt halt in 1985, when he suffered a severe left hemisphere stroke. “After the stroke, he was trying to come back to being whole again. He would work in very small ways,” says Gillian.

John could see Sandia Mountain from the windows of St. John’s Hospital, and he challenged himself to learn to draw it again. “Sandia was really his lifeline. The mountain called to him. He was eventually able to draw the whole thing, which took a long, long time. This was a lovely beginning to his route back to health.” Later on, John did a lecture series on art at St. John’s College that further built his confidence. He continued painting and sketching until the very end of his life.

Gillian folds up her walker and takes a seat in the living room next to her piano. One of John’s aspen paintings hangs above her head. She’s 89 years old, but when Gillian talks about John’s upcoming retrospective at our gallery, she seems full of energy. The works are close to her heart, as is the cause that the show will be supporting.

“When I heard about the wonderful work that the Bob Woodruff Foundation was doing for soldiers returning from Iraq and Afghanistan, I was fascinated,” she says. “My brother had been a prisoner of war under a different situation. I thought perhaps…. some of the paintings that John did could be used, and some of the proceeds could be given to this foundation.”

I ask Gillian something I’ve been wondering the whole time I’ve been there: how did John have the time and energy to accomplish all of this?

Gillian shakes her head and smiles. “It wasn’t really hard work, you see. It was total love,” she says. “Architecture and art were his life.”

The Matthews Gallery will present an exhibition of the art of John McHugh from March 15th through March 28, 2013. Gillian McHugh will be in attendance during the opening reception on Friday March 15th from 5-7 pm. A portion of the proceeds of the sales of the artwork will be donated to the Bob Woodruff Foundation. Click here for more information, and follow our Twitter and Facebook feeds for updates.

Top 10 Art Movies, Part 2

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Where can you find a character big enough to fit a charismatic actor’s personality? Try looking in the art world. Our final five selections for best art movie present unique challenges to bright stars, and they deliver.

Our picks:

The Agony and the Ecstasy (1965) ~ Rex Harrison and Charlton Heston were hot property when they signed on as Pope Julius II and Michelangelo for this Carol Reed classic about the painting of the Sistine Chapel. You can feel the actors sizing up each others’ Oscars in the battle of the wills between two of the Renaissance’s biggest egos, and it elevates both of their performances. We know that Michelangelo is destined to finish the monumental project, but we can tell the Warrior Pope means it when he screams, “Michelangelo will paint the ceiling! He will paint or he will hang!”

Basquiat (1996) ~ “No one wants to be part of a generation that ignores another Van Gogh,” says poet Rene Ricard (Michael Wincott) early in Julian Schnabel’s film. The statement is packed with the sort of hysterical hype that made Jean Michel Basquiat incredibly famous, and probably killed him. That’s not to say that Basquiat, played here with comfortable charm by acclaimed stage actor Jeffrey Wright, wasn’t a top talent. The film’s cast and crew is populated by people who witnessed firsthand the artist’s incredible rise and fall, from David Bowie, who briefly collaborated with Basquiat and plays a fantastic Andy Warhol, to visual artist Schnabel, who makes his directorial debut here. These folks know what made Basquiat and his work so special, and keenly understand the power and vanity of the world that devoured him.

Surviving Picasso (1996) ~ Newcomer Natascha McElhone plays Pablo Picasso’s long-suffering lover Francoise Gilot in this project that was blacklisted by both Picasso and Gilot’s estates. Perhaps that’s because the real draw is Picasso’s (Anthony Hopkins) string of fiery mistresses, played by some of Hollywood’s most beloved character actresses. While we’re meant to focus on the moody Gilot, it’s hard not to delight in the antics of Julianne Moore’s Dora Maar and Susannah Harker’s Marie-Therese Walter. It seems that surviving a relationship with the wayward artist was truly a matter of dispensing with sanity.

Girl with a Pearl Earring (2003) ~ Colin Firth plays Johannes Vermeer and Scarlett Johansson his mysterious subject in this slow waltz of a film by documentarian Peter Webber. Vermeer takes notice of his new maid Griet and decides she’ll be his painting assistant and model, much to the consternation of his family. It’s a careful acting exercise for the leads, who must keep their growing interest in each other bubbling under the surface to make way for the film’s real star: the soft grey light of 17th century Delft. The visual vocabulary of Vermeer and his contemporaries rules here, with characters forever pulling back curtains and pausing by glowing windows. It’s simple, spare and gorgeous—much like the painting that inspired it.

The Thomas Crown Affair (1999) ~ A self-made billionaire, bored with riches and romance, takes up art theft in one of the best vehicles ever crafted for the suave Pierce Brosnan. Mr. Bond plays Thomas Crown, who singlehandedly steals a Monet from the MOMA and arouses the suspicions of beautiful detective Catherine Banning (Rene Russo). A very stylish, wonderfully silly game of cat and mouse ensues. One lesson you’ll learn: if you steal a painting, don’t hang it on your wall.

Click here to browse our first five selections, and follow us on Twitter and Facebook for more meditations on art.

Hannah Holliday Stewart (1924 – 2010) A Sculptor Who Forged The Way

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Hannah Holliday Stewart (1924 – 2010) had her sculpture exhibited in over 40 venues including The Smithsonian, Washington, DC; the San Francisco Museum of Art; the High Museum of Art, Atlanta, Georgia; the Dallas Museum of Fine Arts and others. Her work and her career were instrumental to the increased recognition of women sculptors in the United States. The International Sculpture magazine wrote :

“(She) forged the way for serious women sculptors. Uniting Greek mythology and contemporary energy concepts … (her) work fuses both primitive and futuristic sensibilities.”

At a time when the art world marginalized women artists, she chose to create her own world from metal and stone and helped lead the way for a generation of women sculptors. Though she had achieved a high level of success and recognition, she eventually turned her back on the art establishment and continued to work in isolation for the last twenty years of her life. After her death in 2010, sculptures, consisting of work that spanned her entire career, were discovered in her studio – from pieces that are only a few inches tall to one bronze that is over nine feet.

A written statement discovered in one of her notebooks eloquently records her own thoughts on the origins and principles underlying her art work:

When I was eight years old, I asked my mother what the wind really looked like. I remember spending hours … days … sitting with my hands open wide or running with my lightning-bug jar, hoping to catch the wind. I wanted to SEE the wind, that magical force that could bend the huge oak tree in a summer storm, gently caress me on a hot summer day or sing to me as it played through a tree or around the house.

This early interest in natural forces has sustained me throughout my life as a sculptor. My goal is to render visible the hidden realities of pent-up contained energy. The direct fields of reference are Sacred Geometry, Astronomy, Myth & Physics … Each Sculpture is an energy form, the movement arrested in space, a form sustaining an energy. My work is a response to these patterns and delineations and communicates with viewers through the universality of symbolism and form.

The Matthews Gallery is pleased to show this pioneering artist and reacquaint the world with her work. If you would like to learn more about Hannah Holliday Stewart, we have created a website dedicated to her life and work which includes a 163 page online catalog of her work. Click Here to visit the site.