A number of prominent artists received their first recognition in the Crocker-Kingsley Exhibition. Such artists included Robert Arneson, Kathryn Uhl Ball, Elmer Bischoff, Fred Dalkey, David Gilhooly, Ralph Goings, Gregory Kondos, Roland Petersen, Mel Ramos, Ruth Rippon, Fritz Scholder and Wayne Thiebaud.
Roland Petersen (1926–) is a Bay Area painter whose paintings from the 1950s and ’60s are masterful syntheses of gestural abstract expressionism, painterly realism, and advanced color theory. His work integrates still life, figures, and landscape into complex, architectonic compositions that are beautiful and enigmatic, but still retain a strong sense of place, in this case the fields and farms of California’s Central Valley.
Sketching outdoors is the foundation of Kondos’ landscape paintings. Everywhere he goes, his sketchbook is his trusted companion. And the studio adjacent to his home is always jammed with small pastel, pencil, and pen-and-ink sketches done on his painting trips. “Drawing is the skeleton under the flesh of a painting,” he says. “It is where art begins. Drawing helps me to understand the landscape better, and it doesn’t allow me the luxury of covering up problems in the composition with color.”
Elmer Bischoff (1916–1991) was a San Francisco-based painter renowned for his figurative paintings from the 1950s and 1960s. Bischoff is considered part of the first generation of Bay Area Figurative painters, who, along with Richard Diebenkorn, David Park, and James Weeks, deployed the lessons of non-objective, expressionist painting—the importance of gesture and the use of aggressive color—as a means of reengaging with reality-based subject matter.
Ms. Fonda will briefly discuss her education and background to put her art work in context. She will share information about her studio practice and how she sees her role in our creative community. Included will be glimpses of what is currently happening in her studio and the projects on her horizon.
Practicing and teaching as a fine artist and photographer for more than 20 years, Kurt Fishback began making environmental portraits of fellow artists in their personal space, recently focusing on women artists in order to bring his archive into gender parity.