26 × 39 in
66 × 99.1 cm
Unique
This unique hand signed painting was exhibited at Sager Braudis Gallery in the exhibition "Parallel Visions: Mary Abbott and Thelma Appel" in February, 2020. The collector who acquires this beautiful work will also receive a copy of the illustrated exhibition Catalogue. (see attached photos of the cover which features a close up of the work and the relevant page inside page.) This work was also featured in the Fall, 2015 exhibition "Thelma Appel: Landscapes and Cityscapes", at the Chashama Foundation, 1155 6th Avenue, New York City.
Signed, titled & dated on the verso of the canvas
Exhibition History:
This work was exhibited at Sager Braudis Gallery in the exhibition "Parallel Visions: Mary Abbott and Thelma Appel" in February, 2020. It was featured in the Fall, 2015 exhibition "Thelma Appel: Landscapes and Cityscapes", at the Chashama Foundation, 1155 6th Avenue, New York City.
Thelma Appel is a representational and abstract painter who has been working and teaching for more than six decades. She was raised in Darjeeling, India and educated in London, England, at St. Martin's School of Art (now Central St. Martins) and Hornsey College of Art before emigrating to the United States in the 1960s. Now in her 80s, her work is being re-discovered by a new generation of collectors and curators. Another painting of Appel's, "Exodus by Moonlight" (about refugees) was included in an exhibition at the Brattleboro Museum in Vermont - which hosted a 50-year retrospective of the artist's work in 2019-2020. Her work has been exhibited in numerous venues, including the Bennington Museum, the Berkshire Museum in North Adams, Mass., the Children's Museum of the Arts in New York City, the Mattatuck Museum, the Brattleboro Museum, the Milwaukee Art Museum, the Robert Hull Fleming Museum at the University of Vermont, the University of Pennsylvania Fine Arts Gallery - and seen on the A & E Television Series "The Way Home." In the 1980s, she was represented by the renowned Jill Kornblee Gallery on West 57th Street, and later Fischbach Gallery - (at the time the gallery of record for Alex Katz and other representational artists), and Appel's works were acquired by many private and public collections. She is also a longtime art teacher, having taught drawing at Parsons School of Design, painting at Southern Vermont College and at the University of Connecticut. In 1974 she was awarded a YADDO Fellowship, and in 1975, Thelma Appel, along with the painter Carol Haerer, co-founded the Bennington College Summer Painting Workshop, where many distinguished painters of the day, both abstract and representational, conducted master classes. Among them were Neil Welliver, John Button, Alice Neel, Larry Poons, Friedel Dzubas, Stanley Boxer, Elizabeth Murray and Doug Ohlson – a program that continued until 1980. In 2014 Appel was awarded a solo show by the Chashama Foundation: Thelma Appel: Landscapes and Cityscapes. In 2019, the curators of the Art New York fair at Pier 94 chose works from her Times Square series of paintings for their public project exhibition space sponsored by Absolut vodka, and in the Fall of 2019 the curator of the Port Authority of New York and New Jersey in collaboration with Chashama Foundation selected Appel's. Times Square series to be exhibited in a solo show at their Project Find space – a public exhibition at the Port Authority Bus Terminal. From October 2019 to February 2020, the Brattleboro Museum in Vermont is hosting a career survey of Appel’s work entitled Thelma Appel: Abstract/Observed curated by Mara Williams. Appel became known primarily for her paint-soaked brush strokes on large canvases that sought to recreate the energy, color and immediacy of the landscapes. In a recent documentary interview, the artist explained why she considers herself a Romantic landscape painter: "Not recording mimetically what lay before me, but trying to express the excitement I felt in response to nature by using paint-soaked brush strokes on a large canvas wherein the overlapping layered strokes of color were metaphors for the contiguities found in nature. My early paintings sought to recreate the energy, color and immediacy of the landscapes...to convey a more raw "painterly" feeling within the image, rather than recording a particular scene or looking on from a distance. "
