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Sadly, she regretted her own career later in life, believing that she had not realized her full potential, and feeling unable to compete with her husband. She deserves a much more elevated stature among the most well known American artists.
Maria collaborated on a number of paintings with her husband, Thomas Wilmer Dewing, who went on to overshadow her own career. She often painted the floral portions of his compositions, and rarely signed her name.
Her florals can't be contained, and burst through the confines of the canvas. One gets the sense that turning in any direction will reveal more. We're not just admiring the flowers in her painting, we are surrounded by them.
In this piece from the permanent collection of the Smithsonian American Art Museum and the Renwick Gallery, the flowers are not perfect, but natural, with some clearly past their prime. There's no vase or carefully cropped bouquet.
Floral painting in oils by American artist Maria Dewing of a beautiful, lush spring garden blooming with multiple rose bushes and flowering plants, from the permanent collection of the Smithsonian American Art Museum
Detail of a floral painting in oils by American artist Maria Dewing of a beautiful, lush spring garden blooming with multiple rose bushes and flowering plants, from the permanent collection of the Smithsonian American Art Museum - this detail images focuses on some small pink roses
Detail of a floral painting in oils by American artist Maria Dewing of a beautiful, lush spring garden blooming with multiple rose bushes and flowering plants, from the permanent collection of the Smithsonian American Art Museum
Maria Dewing painted some of the most beautiful and lush garden scenes.
"Garden In May"
• Maria Oakey Dewing
• Oil on Canvas
• 1895
• 23 5/8" x 32 1/2"
Painting photos by @saundersfinearts.bsky.social
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#ARTTIPS - Let the nature of oil paint create textures without over rendering. Painting light over dark quickly gives the essence of natural textures.
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Without over rendering, Fechin has given the hands volume and interest, and best of all there's that slight press into the cheek with the index finger, which brings us right back to her face.
Painting photo by @saundersfinearts.bsky.social
They were married in 1913 and emigrated to the United States in 1923 with their daughter Eya.
As always, the rendering of the face is beautiful in this piece, but it's the form of the hands that I find absolutely stunning.
1911 portrait painting in oils by Russian artist Nicolai Fechin of his future wife, Alexandra Belkovitch
In 1911, Nicolai Fechin painted this portrait of 18-year-old Alexandra Belkovitch, the daughter of the director of the Kazan School of Art, where Fechin taught for a decade.
"Alexandra Belkovitch"
• Nicolai Fechin
• Oil on Canvas
• 1911
• Permanent Collection of the Fred Jones Jr. Museum of Art
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Portrait painting in oils of a red male cardinal bird on a tree branch by American artist Patrick Saunders
Artist friends, a spot just opened in my second sold out Associated Women in the Arts painting workshop April 18th - 20th in Louisiana. Go here to grab it before this Baton Rouge class sells out again. patricksaunders.com/painting_wit...
“Messenger”
• Oil on Linen
• 9 " x 12”
• Private Collection
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All but one were created en plein air, on location with live models. If possible, I recommend viewing these works in person for the full experience.
This is one of 14 panels from Sorolla's Vision of Spain which are featured in the round at the museum. I've featured others in previous posts. Each panel is an impressive feat in its own right, but together, they are one of the most breathtaking displays of painting I have ever witnessed.
Notice the figure in blue in the lower right is completely in shadow, while the man tipping his hat just above him is in bright sunshine.
The varying ways in which the figures in the foreground are lit suggests there are structures behind us, which cast shadows, creating a dappled light across the procession.
I've included close-up details so you can see how the massive crowd is handled in the distance with simple dabs of color, and yet our brain tells us that these are people.
The composition, the color, the shear number of figures, the sense of space and the atmospheric perspective are all handled with mastery.
Plein air painting in oils by Spanish painter Joaquin Sorolla of the opening procession of a bull fight in an arena in Seville, Spain, one of 14 panels in his Vision of Spain masterpiece
Detail of a plein air painting in oils by Spanish painter Joaquin Sorolla of the opening procession of a bull fight in an arena in Seville, Spain, one of 14 panels in his Vision of Spain masterpiece
Detail of a plein air painting in oils by Spanish painter Joaquin Sorolla of the opening procession of a bull fight in an arena in Seville, Spain, one of 14 panels in his Vision of Spain masterpiece
I find this large mural by Spanish painter Joaquín Sorolla from the Hispanic Society Museum & Library so inspiring on a number of levels.
"Sevilla. Los toreros"
• Joaquín Sorolla
• Oil on Canvas
• 1915
• 11.5' x 90.9”
Painting photos by @saundersfinearts.bsky.social
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Floral painting in oils of a field of purple, pink, red, and burgundy tulips by American artist Patrick Saunders
Artist friends, my June floral workshop at the Conroe Art League sold out fast - a 2nd class was just added in July, & is already half full. Go here for more information, and to register: patricksaunders.com/dynamic_flor...
“Strength In Numbers”
• Oil on Linen
• 15” x 30"
• Private Collection
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I've included a detail of the image, so that you can see the manner in which the paint is applied. This contributes to the rich glow of the dark colors, as the light passes through these thin areas, bouncing off the white of the canvas beneath.
What I find most interesting is the choice to place all of the interest in the shadow areas of the painting. This conveys a more quiet and introspective feel, and gives the viewer the sense of witnessing a very personal moment.
The piece was commissioned as part of a five-piece series for Outing Magazine and is now a part of the permanent collection of the Brandywine Museum of Art.
What I find most interesting is the choice to place all of the interest in the shadow areas of the painting. This conveys a more quiet and introspective feel, and gives the viewer the sense of witnessing a very personal moment.
The piece was commissioned as part of a five-piece series for Outing Magazine and is now a part of the permanent collection of the Brandywine Museum of Art.
