Current Exhibitions

Palm Beach

Leonard Edmondson

Signs & Symbols

Leonard Edmondson (1916 – 2002) Leonard Edmondson, California native, painter, printmaker, educator, and author, was born in Sacramento in 1916. Edmondson studied at the University of California, Berkeley, where he graduated in 1942 after earning his B.A. and M.A. in Fine Art. Between 1942 and 1946, he served in the U.S. Army in Military Intelligence. When he returned from service, Edmondson embarked on a distinguished teaching career in Los Angeles that spanned five decades. Concurrent with beginning teaching, he became absorbed with Klee and Kandinsky, studying Klee’s Pedagogical Sketchbook and Kandinsky’s theoretical writings.

Although renowned for his work as a printmaker, Edmondson used a wide variety of media in his art. By 1950, he made an abrupt change from figuration to abstraction, cited by the artist as a journey of discovery, inspiration, and meaning in his work. The following year was pivotal for Edmondson. He learned advanced intaglio techniques from Ernest Freed at the University of Southern California. His first solo exhibition was held that year at the prestigious Felix Landau Gallery in Los Angeles. Then in 1952, his first solo museum show was mounted at the de Young Museum, San Francisco, CA.

From 1954 to 1956, Edmondson was appointed head of the design department at Otis College of Art and Design. His paintings continued to garner acclaim, appearing in important national venues, such as the 1954 exhibition “Young American Painters” at the Guggenheim Museum in New York, an exhibition at the Whitney Museum of American Art in 1956, and the Corcoran Gallery of Art’s Biennial of American Painting in 1957.

Edmondson’s abstract works are allover compositions in which biomorphic shapes float through an atmosphere of soft color. Often, his palette consisted of limpid hues of translucent rose, terra-cotta, pink, gray-blue, and yellow. His art is also concerned with cognition; titles such as An Occasion for Surprise and Collateral Ribbon demonstrate his interest in relationships, both conceptual and formal (the latter comprising space and color). His paintings and prints share a delicate line, a concern with the tonal gradations of textured backgrounds, and a refined elegance.

After the fifties, Edmondson had continued success in both his teaching and artistic careers. He spent a year in New York City on a Guggenheim Grant working at the Pratt Graphic Center in 1960; he became the chair of the art department at California State University in 1964, and in the early 1970s, he and a group of artists formed a studio called the Pioneer Press Club. A studio Edmondson and his fellow artists used as a place to experiment and where Edmondson created his universally respected book, Etching, which was published in 1973.


Henri Maik

Magical Safari Exhibition

Findlay Galleries is pleased to present the Magical Safari exhibition showcasing the works of Henri Maïk. Maïk designated himself as a primitive painter, not a naïf painter. In many ways, his paintings are paradoxical, familiar and strange, childlike but sophisticated, quiet yet also vocal with color. They are dreamscapes, lush terrains with fields of unique flowers, exotic trees, rare birds, and wild beasts; all painted in their unique texture. In a Maïk painting, the viewer enters a community of creatures, at rest and in play, dwelling in perfect harmony. These joyful creatures seem to live social lives similar to that of our own.

Henri Maïk was born in Paris on March 27, 1922, the son of the illustrator and engraver, Joseph Hecht. In 1940, at the age of  18, Maïk enlisted in the French Navy and served as a medical corpsman. Subsequently, he was captured and imprisoned in the Maritime Hospital in Brest. From 1942, when he was released, he worked as a lumberman in Normandy until the Liberation of France.  Following the Liberation, Maïk returned to Paris and worked as an actor in the theater and French films. He began painting in 1956. The year 1960 marked a turning point in Maïk’s career, for he had his first one-man show in Paris. In 1964 Wally Findlay recognized his talent and hosted Maïk’s premier United States exhibition in Palm Beach, Florida. The first of many successful exhibitions presented at Wally Findlay Galleries in New York, Chicago,  Palm Beach, Beverly Hills, and Paris.

The Musée de l’Art Moderne, Paris, featured Henri Maïk’s paintings in 1966, 1967, and 1968 in an exhibition of sacred art.  The Cité Internationale des Arts in Paris featured his canvases in 1966 and 1967. Maïk’s work garnered critical acclaim in exhibitions at the Abbey of Salinsles-Bains (Jura) in 1965 and 1966 at the Galerie Johnson, Usès (Gard). In 1968 he was honored with an exhibit at the Maison de la Culture d’Argenteuil. Maïk also exhibited in the Salon d’Automne, the Salon de Bollène, the Centre National de la Tapissserie d’Aubusson, and the Salon of Swedish Art. His paintings are in the National Museum of Budapest, the Center of Contemporary and Experimental Art at Rehoboth, Israel, The Musée d’art naïf de Vicq en Île-de-France, and the Musée de Colmar.


Gaston Sébire

The Normande Impressionist Master

Celebrating The Artist’s 100th Anniversary

Findlay Galleries is pleased to present its exhibition Gaston Sebire- The Normande Impressionist Master“. An exhibition celebrating the Artist’s 100th Anniversary.

This exhibition showcases Sebire’s wide variety of works; boats, beaches, landscapes, seascapes, gardens, and bouquets. Each painting, a timeless masterpiece, reveals not only his revered ability as a painter but also shows another expression of his personality. He had an astounding ability to capture the essence of a particular moment with his magnificent eye and incomparable brushstroke — a composed and balanced en plein air master.

Learn more about Sebire and his work by viewing our online catalogue. For a more immersive experience, explore our virtual gallery environment.


20th Century Masters

Jean Dufy & Gen Paul

Jean Dufy (1888 – 1964)

Jean Dufy arrived in Paris in 1912, at twenty-four years of age with a portfolio of watercolors as his only fortune, “I painted flowers, circuses, seascapes, the family garden, still lifes,” he said. Dufy then served in the Army from 1914 – 1918 during World War I. After the war, he returned to Paris and, in 1920, settled in Montmartre and was fortunate to be surrounded by a community of artists – his neighbor was George Braque. Dufy painted Paris for 35 years and used everything in the city as a subject for his work. Like a tourist that never left, he would continue to return to his favorite places to repaint the views he adored, capture them in a different light, and reveal another expression of the cities’ soul each time.

Gen Paul (1895 – 1975)

Gen Paul was born and raised in Montmartre, Paris, the bohemian artistic community many artists would flock to. He left Paris to fight in World War I, where he was seriously injured and lost his right leg in 1915. Gen Paul returned home, and his artistic career began. During these early years of his career, which spanned 60 years, he saw “everyone come and go,” referring to all the great names who spent time in Montmartre before moving on again. He was also highly regarded by writers, artists, actors, and Parisian natives; Jean-Paul Crespelle said that “Gen Paul was the last of the great painters of Montmartre.” He was a socialite and a city dweller; he needed the city and loved living amidst the noise and movement, surrounded by people. He would often have famous writers, actors, artists, and even clowns from the circus in his salon while he would paint late into the night. It’s clear to see why so much life, color, and vibrance is present on his canvas.

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Jean Dufy  |  Gen Paul


The Pictorial Poetry of Paris

Constantin Kluge

Though born in Riga, Latvia, in 1912, Constantin Kluge grew up in China, spending his adolescent years in Shanghai, where his family was forced to migrate during the Bolshevik Revolution. There, among his studies of Mandarin and the art of calligraphy, Kluge found excitement in visual art as an active member of the Shanghai Art Club. As a young adult, his parents urged him to study something more pragmatic than fine art. Kluge found a compromise in architecture, but it was ultimately his exceptional drawing skill that secured his place at the Ecole des Beaux-Arts as a student of Architecture in 1931. He spent six years studying and in 1937, graduated with the title, French Government Architect. His passion for the city of lights grew exponentially in his short time there. Kluge was so profoundly moved and deeply in love with the city that he remained for several months after completing his studies. He stayed to paint views of Paris in oils, purely to portray and preserve the scenes he cherished so much.

Kluge returned to China and practiced architecture in Shanghai. After persuasion from friends, he also began exhibiting his paintings, which reared great success to Kluge’s surprise. However, his painting career paused during World War II. Beginning in 1950, Kluge worked as an architect in Hong Kong. Supported fervently by friends, and urged by his heart, he returned to his dear Paris due to rumors of the Communist invasion. Unsurprisingly as an already mature and successful painter, in 1951, Kluge won an award at the Paris Salon. After, he frequently exhibited in the Salon shows, which proved to be his gateway to ever-increasing public attention. Kluge then also became a member of the Sociéte des Artistes Francais and received the Médaille d’Argent and the special Raymond Perreau prize given by the Salon’s Taylor Foundation.

By the late 1950s, Kluge’s paintings caught the eye of the world-renowned art dealer, Wally Findlay, Jr., who immediately presented Kluge’s Parisian paintings to the American market and consolidated his stature in Europe. He launched his career by the 1960s with exhibitions in all Findlay Galleries locations, including Paris, New York, Palm Beach, Chicago, and Beverly Hills. Today, Kluges estate is exclusively represented by the Findlay Galleries after more than 60 years of representation, and his works are a highlight of the galleries rooster of highly valued artists. In 1990, after many critical successful years, French president François Mitterand awarded him the highest French order of merit for military and civil merits of honor, Chevalier de la Légion D’Honneur. Throughout the nineties and until his passing in 2003, Kluge continued to paint Paris’s poetic landscapes and exhibit his renowned and masterfully detailed paintings at the Findlay Galleries worldwide.


New York

Mary Sipp Green

The Mystical Now

Dedicated to the late Sister Wendy Beckett

Findlay Galleries is pleased to present The Mystical Now. This exhibition is dedicated to the late Sister Wendy Beckett, a British religious sister and world-renowned art historian who was an avid supporter of Mary Sipp Green’s work throughout her career.

“You have a gentle poetry that comes from within, as though you are really concerned more with the ‘spirit’ of a place than it’s full materiality, even though you clearly recognize that reality as being the only ‘way in’ But you do go in, and you take us with you: that’s a joy” Sister Wendy Beckett – a Letter to Mary Sipp Green (February, 1990)

Dedicated to the Late Sister Wendy Beckett

Sister Wendy Beckett (February 25, 1930 – December 26, 2018) was a South African-born British art expert, consecrated virgin and contemplative hermit who became an unlikely celebrity during the 1990s, presenting a series of acclaimed art history documentaries for the BBC and PBS. As a contemplative nun, she lived in solitude in a monastery in Norfolk, England, but her immense sensitivity to art was gained through her studies at Oxford University and from her numerous essays on specific artists and art movements. Her manner is simultaneously straightforward, comical, and inspiring.

In this small but powerful book, ‘The Mystical Now: The Art and The Sacred,’ she opens with a fine essay examining both paintings and their creators and the evidence that the ‘sacred’ can be found throughout art history. She celebrates the “transforming power of art, a meditation on the presence of the divine in our everyday lives.”

What follows the opening illustrated essay is a veritable treasure trove of 65 artists, each represented by one painting and on the opposing page a short essay by Beckett on how the sacred is manifest in that particular work. It is the scope of artists that makes this thesis so interesting. Here are works by Diebenkorn, Klee, Mondrian, Picasso, Rothko, Odd Nerdrum, Matisse, Helen Frankenthaler, Jasper Johns, Joan Mitchell, Jean Rustin, Stanley Spencer, and other well known, established artists alongside the inordinately beautiful works by lesser-known but equally fine artists such as Sally Warner, Pia Stern, Mary Sipp Green, and Yoko Shiraishi, to name but a few. Sister Wendy Beckett has probably done more to bring the great art of history and contemporary times to the world through her highly acclaimed series than any other individual.


Ronnie Landfield

Concurrence

Findlay Galleries is proud to announce the exhibition Ronnie Landfield – Concurrence at Findlay Galleries, New York. The exhibition showcases both new paintings and select integral Landfield works from the color field abstractionist, Ronnie Landfield. His work continues to develop with effortless sophistication, utilizing form, size, and color in a progressive yet retrospective way.

Ronnie Landfield was discovered in the mid-1960s by collector and architect Philip Johnson, who purchased many of his large works, donating some to important museums and keeping others for his private collection. Landfield exhibited at the Whitney Museum’s annual exhibitions in 1967 and 1969 and at the Whitney Biennial in 1973. By the early 1970s, Landfield became a pioneer of Lyrical Abstraction, exploring landscape as a subject, incorporating color with stain painting. In 2007, the Butler Institute of American Art mounted a retrospective of his work.

Today, Landfield’s work is in the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, the Art Institute of Chicago, and other important public institutions. Findlay Galleries proudly represents Ronnie Landfield and his lyrical abstractions of which have become icons of the modernist Color field movement.

Learn more about Ronnie Landfield and his work by viewing our online catalogue. For a more immersive experience, explore our virtual gallery environment.


Recent Works

Priscilla Heine

Findlay Galleries is pleased to announce its exhibition Priscilla Heine – Recent Works

Heine grew up in New York City and instantly identified as an artist from a very early age. She attended The School of the Museum of Fine Arts at Tufts University, graduating with a Bachelor’s degree and a 5th-year diploma of art. She also engaged in many years of exploration and development, ranging from color field painting to years of autobiographical representational material and austere landscapes.

Heine’s approach is daring and intuitive. Her works are playful yet refined, and they command attention and intrigue. In this latest series, Heine’s varied compositional elements and techniques amalgamate to create delicately balanced, bold, and powerful organisms. Her organic, rich palette, coupled with her instinctive forms, absorb and engage the viewer.

View Priscilla Heine’s artist page and previous catalogues of work


A Collection of Works From The Fifties

Leonard Edmondson

Leonard Edmondson, a California native, a painter, a printmaker, an educator, and an author, was born in Sacramento in 1916. Edmondson studied at the University of California, Berkeley, where he graduated in 1942 after earning his B.A. and M.A. in Fine Art. Between 1942 and 1946, Edmondson served in the U.S. Army in Military Intelligence. When he returned from service, Edmondson embarked on a distinguished teaching career in Los Angeles that spanned five decades. Concurrent with beginning teaching, Edmondson became absorbed with Klee and Kandinsky, studying Klee’s Pedagogical Sketchbook and Kandinsky’s theoretical writings.

Although renowned for his work as a printmaker, Edmondson used a wide variety of media in his art. By 1950, he made an abrupt change from figuration to abstraction, cited by the artist as a journey of discovery, inspiration, and meaning in his work. The following year was pivotal for Edmondson. He learned advanced intaglio techniques from Ernest Freed at the University of Southern California. His first solo exhibition was held that year at the prestigious Felix Landau Gallery in Los Angeles. Then in 1952, his first solo museum show was mounted at the de Young Museum, San Francisco, CA.

From 1954 to 1956, Edmondson was appointed head of the design department at Otis College of Art and Design. His paintings continued to garner acclaim, appearing in important national venues, such as the 1954 exhibition “Young American Painters” at the Guggenheim Museum in New York, an exhibition at the Whitney Museum of American Art in 1956, and the Corcoran Gallery of Art’s Biennial of American Painting in 1957.

Edmondson’s abstract works of the 1950s are allover compositions in which biomorphic shapes float through an atmosphere of soft color. Often his palette consisted of limpid hues of translucent rose, terra-cotta, pink, gray-blue, and yellow. Edmondson’s art is concerned with cognition; titles such as Interdependent Attitudes, Collateral Ribbon, and Letters Toward Experience demonstrate his interest in relationships, both conceptual and formal (the latter comprising space and color). His paintings and prints share a delicate line, a concern with the tonal gradations of textured backgrounds, and a refined elegance.

After the fifties, Edmondson had continued success in both his teaching and artistic careers. He spent a year in New York City on a Guggenheim Grant working at the Pratt Graphic Center (1960); he became the chair of the art department at California State University (1964 to 1970), and in the early 1970s, he and a group of artists formed a studio called the Pioneer Press Club. A studio Edmondson and his fellow artists used as a place to experiment, and where Edmondson created his universally respected book, Etching, which published in 1973.


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