Another Look
October 6th - October 30th


Newington-Cropsey Cultural Studies Center
In the Studio: Sarah Lamb


A indepth article of Sarah Lambs career, studio and community, written by Allison Malafronte.

Hamptons Art Hub
ART REVIEW: Ramiro / Sanchez Paintings Elevate Realism to Visual Poetry

Realism that comes with a whiff of fresh paint has its job cut out for it in an abstract era. The impressive strength of the two-artist exhibition at Sag Harbors Grenning Gallery a bastion of traditional genres, shows the way that impromptu gestures can raise realism to the level of poetry while evading the possible trap of remaining prosaically photographic.

Ramiro | Sanchezpresents a wide-ranging if understated conversation between husband and wife, Ramiro Sanchez and Melissa Franklin Sanchez. The Two Share a studio in Florence and are annual vistors to the East End, where they paint seascapes and compelling portraits, often on commission.

Fire Arts Connoisseur
Deceits That Delight

Everything sounds better in French. Translated into English as deceive the eye, trompe loeil is understood universally to be realistic imagery creating the optical illusion that the objects depicted exist in three dimensions. Although this French term appeared four centuries ago, the technique itself has existed since Greeces classical period. Often integrated within architecture to evoke larger spaces or views into nature, trompe loeil really took off in the Italian Renaissance with masters like Andrea Mantegna, then gathered greater steam as the Dutch Old Masters produced thousands of realistic still life paintings.

Those pictures crossed the Atlantic as household decorations and were taken to breathtaking new levels by such American masters as William Harnett (1848–1892) and John F. Peto (1854–1907). In fact, on view now through September 4 at New Jerseys John F. Peto Studio Museum is its biennial juried exhibition of contemporary still life and trompe loeil. The tradition took on added force when American artists such as Richard Haas (b. 1936) began adorning the sides of urban buildings with massive glimpses of distant vistas.

Here we have gathered two dozen recent examples of artists deceiving our eyes. Few are as meticulously detailed as the roundel painted by Marina Dieul on this magazines cover; some are painted from photographs rather than life, one is sculpted, and another covers a giant brick wall. As with all vital traditions, trompe l’oeil is broad enough to be adapted by each artist to suit his or her particular objectives. We salute all of them and look forward to seeing what they create next.