Findlay Galleries is proud to present Montezin and the Circle of Post-Impressionists, an exhibition dedicated to Pierre-Eugene Montezin’s significant works. The show is complemented by a selection of important paintings by the artist’s Post-Impressionist contemporaries. This carefully curated exhibition invites collectors to enjoy the luminous landscapes and evocative scenes that define this transformative period in art history.

Pierre-Eugene Montezin, renowned for his masterful ability to capture the interplay of light and color within the French countryside, forms the centerpiece of this exhibition. His works evoke a sense of tranquility and richness as they transport viewers to sun-drenched fields and calmly flowing rivers. Montezin’s distinctive brushwork and harmonious palette are emblematic of the Post-Impressionist era, where the artist sought not only to depict reality, but to infuse it with emotion and personal vision.

The exhibition also features exceptional works by fellow Post-Impressionists Maximilien Luce, Henry Moret, Antoine Pinchon and others. It serves as a testament to the innovative spirit that characterizes the Post-Impressionist movement, showcasing the diverse approaches and philosophies these artists embraced. Together, their works illustrate a profound exploration of perception, emotion, and the beauty of the world around them.

Following a successful Fall exhibition at Findlay Galleries in New York, we are delighted to announce the second installment of recent works by the acclaimed American Color Field painter Ronnie Landfield. This exhibition will take place at Findlay Galleries in Palm Beach.

Ronnie Landfield, a committed and talented artist since his youth, embarked on his professional painting career in 1965 at the age of 18, initially exploring Minimalist and Hard-Edge painting. By the late 1960s, Landfield embraced the lyrical abstractions characteristic of Color Field painting. His unique approach, combining a profound understanding of pure color with minimalist forms, has established him as a significant figure in contemporary art. His works evoke the natural world across various scales, reflecting the duality of existence—simultaneously random and planned, organic and artificial, invoking both Color Field and Hard-edge aesthetics.

Since his inaugural exhibition in 1967, Landfield’s artistic journey has been marked by widespread recognition and acclaim. His recent exhibition garnered critical praise from prominent art publications, including Brooklyn Rail, Tussle Magazine, and White Hot Magazine of Contemporary Art. Critics have noted:

“Like Mark Rothko, Landfield swathes color in bands and horizontal layers that transfer an extraordinary affective energy to the viewer.” – Ara Osterweil, Brooklyn Rail.

“The overall cohesiveness of Landfield’s style over decades allows it to resonate across time.” – Jillian Russo, Tussle Magazine.

“The beauty of the colors is remarkable, being driven by contrast and the feeling that the hues are lit from within.” – Jonathan Goodman, Whitehot Magazine of Contemporary Art.

Landfield’s work is featured in numerous prestigious institutions and permanent collections, including the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago. Findlay Galleries proudly represents Ronnie Landfield exclusively and invites art enthusiasts and the public to experience this exceptional new collection of paintings on view in Palm Beach.

Janet Mait (b.1946) began her formal training at The New School, where she was a protégé of Chaim Gross. She also studied at the Art Students League, where she trained under Larry Poons and William Scharf. At the beginning of her artistic journey, she specialized in the human figure, and through years of dedicated practice, she attained mastery over form, weight, and balance. Mait began experimenting with various mediums as her artistic exploration evolved and ultimately transitioned to acrylic on canvas. This shift marked a significant liberation for the artist, as the freedom and rhythmic potential of the brush allowed her to move beyond representational forms into the realm of abstract expressionism. 

Mait prioritizes fundamental elements such as space, color, and balance in her approach to the canvas. She endeavors to remain as unprepared and unpremeditated as possible at the outset of her creative process to preserve an authentic expression. In these moments of creation, she draws inspiration from a rich internal landscape—a synthesis of visions, dreams, and emotions characterized by spontaneity and executed with meticulous balance. The vibrancy of her color palette resonates with the sense of optimism that she aims to convey through her work. Equally significant is her strategic use of white; the spatial presence it occupies is essential in defining her overall composition.

This collection is an exploration of the way in which colour influences our feelings. We live surrounded by colour, in our homes, in the landscape, and perhaps at work too, but seldom do we have time to stop and consider its effect upon us. Why does a room observed in the blue-violet light of a summer dawn suggest a very different atmosphere to the same room lit by the golden light of a summer evening? As humans, we respond to colour from an early age, preferring a red shirt to a green one or a yellow one to a pink one. Colour works like music: it instantaneously chimes with our feelings and moods. Certain combinations evoke pleasure, others distaste. In this group of new paintings, I have used colour as one might use a key in music, as a way of setting the emotional tone of a composition, of communicating something inner through the arrangement of its harmonies.

As with all my work, the paintings seek to convey a spirit of contemplation, reflection and gentle joy found in the world around us, our houses, the streets of our hometowns, and the countryside. I am much moved by looking through windows, and many of the room interiors are designed to lead the viewer’s eye through the careful arrangement of shapes and into the outside world; sometimes, this device has the effect of cloaking the ordinary in a sort of otherworldliness so that the mind can wander freely into the pastures of the imagination. There is a similar effect where a mirror is used to reflect the figure: the interior space presented to the viewer presents an alternative version of reality, a kind of dreamworld, an Alice through the Looking-Glass experience.

The paintings largely fall into two groups: the landscapes composed from the terrace at Old Granary Cottage, my home, and the interiors, some with figures, designed in my studio. Although my vision is rooted in the tradition of English Romanticism, the way in which the paint is deployed is influenced both by a long immersion in European Post-Impressionism and by my more recent fascination with American Post-war painting. In the bigger pictures, the juxtaposition of flat and liquid areas of translucent colour, applied in fluid broad brush marks, with shorter, thicker impasto marks, probably owes more to the technique of de Kooning than it does to Matisse, even if the subject matter remains firmly domestic.

Born in Chicago, painter Judith (Judy) Dolnick has been creating colorful and vivid abstract paintings since the 1950s. She received her BA from Stanford University in 1955 and attended The Illinois Institute of Technology, Chicago, in 1957. Along with her husband, the painter Robert Natkin, and fellow artists Gerald van de Wiele and Ann Mattingly, Dolnick opened the Wells Street Gallery in Chicago to address the lack of exhibition opportunities for abstract expressionists in the area. Among the many artists successfully shown at Wells Street Gallery were the photographer Aaron Siskind and the sculptor John Chamberlain.

In 1959, Dolnick and Natkin moved to New York City. She began showing her work beginning in the late 1960s, going on to exhibit at galleries including Poindexter Gallery, Gimpel and Weitzenhoffer and Edward Hopper House Museum. Her work is part of many permanent collections, including The Hirshhorn Museum and Sculpture Garden, The Spencer Museum of Art and The Mint Museum of Art.

Dolnick’s art is influenced by various styles ranging from expressionism to abstraction. Her paintings pay homage to other masters, such as Van Gogh, Gauguin and Kandinsky. Her works have energy and depth; they are odes to nature and space, expressed through light (color) and brought home by the rhythm of her brushwork. Rhythm and gesture play a critical role in her artistic process, which she has continued to develop for several decades. Her aesthetic accomplishments include a vision in which her forms are solid and significant yet detached from the weight of gravity.

 Entering her ninth decade of life, Dolnick continues to paint almost daily in her Connecticut and New York studios, creating works in a light and flower-filled room. Findlay Galleries is honored to represent the artist exclusively, presenting works in varying media, from acrylic on canvas to watercolor on paper, highlighting the depth and richness of Dolnick’s oeuvre.

Gilles Gorriti, born in Paris in 1939, emerged as a prominent figure in modern painting, carrying a remarkable artistic lineage. His grandfather, Paul Aïzpiri, was a renowned artist, and his father, Ignacio Gorriti de Aïzpiri, a skilled sculptor, both of whom influenced his early exposure to the arts. At just seventeen, Gorriti held his first solo exhibition at Galerie Morval, a notable accomplishment that propelled him into the Parisian art scene. Soon after, he became a member of the prestigious Salon d’Automne, an important platform for avant-garde artists.

Gorriti’s career took a significant leap in 1962 when the City of Paris acquired one of his paintings, marking the beginning of his rise to international recognition. By 1965, his work had reached Japan, where it was featured in the Fourth International Exhibition of Figurative Art, an event that cemented his status as a global artist. His art was deeply inspired by his extensive travels and his passion for music, particularly Flamenco and classical. These influences can be seen in his vibrant use of color and the emotional depth that permeates his work.

Gorriti’s Mediterranean landscapes, bustling Parisian streets, and intimate interiors are celebrated for their dynamic compositions and expressive color palettes. His mastery of light and color played a key role in his artistic process. As with all painters, Gorriti had the option to employ shading and tinting techniques, but he favored tinting to create clarity and capture the essence of sunlight in his outdoor scenes. This technique allowed him to convey the warmth and purity of Mediterranean light with remarkable realism.

When transitioning to his interior and still life work, Gorriti utilized shading to emphasize the solidity of objects, enhancing the formal relationships between elements in the composition. This shift in approach made his interiors more dynamic, with a greater focus on the physicality of objects. Represented by Findlay Galleries from 1983 until his death in 2019, Gorriti’s work continues to be celebrated in private collections and museums worldwide, including the National Museum of Art in Osaka, Japan.

The Color of Fall exhibition showcases breathtaking landscapes and abstract interpretations of a season that captivates the spirit with its vivid colors and nostalgic allure. This carefully curated exhibition features a collection of works by acclaimed artists, ranging from the Impressionist and Post-Impressionist masters of the early 20th century to contemporary visionaries who continually redefine the boundaries of artistic expression.

The exhibition presents a stunning palette of burnt oranges, deep reds, and gentle yellows, evoking warmth, comfort, and nostalgia. Ultimately, The Color of Fall celebrates the season’s bittersweet beauty, inviting viewers to pause and appreciate the ephemeral splendor of this moment before winter arrives.

Tadashi Asoma

John Ferren

Jacques Martin-Ferrières

Childe Hassam

Constantin Kluge

Henri Maïk

Nicola Simbari