@ the MMFA

Claude Monet, "Seascape: storm", oil on canvas, (1866-67)

Edouard Manet, "Moss roses in a vase", oil on canvas, (1882)

Pierre-Auguste Renoir, "Self-portrait", oil on canvas, (1875)

Paul Gauguin, "Young Christian girl", oil on canvas, (1894)

Kenojuak Ashevak, died on Tuesday, at 85.  R.I.P. great owl

@ Galerie Walter Klinkhoff:


Marc-Aurèle Suzor-Coté, The End of Day, oil on panel, 10 x 14".

Marc-Aurèle Suzor-Coté, Twilight, oil on panel, 6 1/2 x 8 1/2 ".

@ the AGO:

Frida Kahlo, Mi Nana y Yo (My nurse & I), 1937, oil on metal.

Alexandra Luke, Epitaph to Eos, 1961, oil on canvas.

William Ronald, Exodus I, 1958, oil on canvas.

I don't want to create a monster, I want to make something which is new, exceptional, something that only I do...something that references tradition, but is still new.
­                                                                                                                             ––Georg Baselitz

@ MMFA:

Nicolas Poussin (1594-1664), "Landscape with man pursued by a snake", about 1637-1639, oil on canvas:

Quick visit to Galerie Yves Laroche:

Mainly 'Juxtapose-y' like crap, real bric-a-brac, but just behind the glass door to the private showroom, on the floor leaning against the wall, in the half-dark like a hustler, a Francis Bacon lithograph of two fleshy figures writhing, # 45 / 60. 

Next door at Lacerte, a stunning Edmund Alleyn gouache from 1962, "Untitled",($9 800).  Matted & framed beautifully.  Clearly from his "Indian Summer" days.  A knock-out of a piece.

Milton Avery "Green Sea", 1954, oil on canvas, 42 x 60 inches:

Mardsen Hartley, Mount Katahdin, Maine,1942, oil on canvas, 30 x 40 1/8 inches:

Mardsen Hartley, details (sky & trees)

Mardsen Harley, Evening Storm, Schoodic, Maine, 1942, oil on composition board, 30 x 40 inches

"Every true artist creates new values, new beauty...When you notice anarchy, recklessness, or licentiousness in works of contemporary art, when you notice crass coarseness and brutality, then occupy yourself long and painstakingly precisely with these works, and you will suddenly recognize how the seeming recklessness transforms itself into freedom, the coarseness into high refinements.  Harmless pictures are seldom worth anything.

                                                                                                                               -Emile Nolde

Chaim Soutine, "Windy Day, Auxerre", oil on canvas, 1939, 19 1/4" x 25 5/8".

Chaim Soutine, "View of Céret",oil on canvas, 1922, 29 1/8" x 29 1/2"