Thiebaud the storyteller
December 28, 2021 § Leave a comment

FIRST PERSON | THOMAS REYNOLDS
Everybody who met Wayne Thiebaud came away with a story. I’m no exception.
Quite a few years ago, the California Historical Society mounted an exhibition of plein-air paintings by the great 19th century California artist Thomas Hill. Most of Hill’s paintings are grand landscapes of the Yosemite valley. But these were small oil sketches done on location. As part of the exhibition program, there was to be a talk by the legendary 20th century California artist Wayne Thiebaud. It seemed an odd pairing.
Of course I went. Thiebaud began with one of Hill’s paintings of tents turned upside down, to show its abstract qualities. It was a magnificent talk, full of observations and insights, delivered with wry humor. Afterward I went up to shake the great man’s hand and tell him how thoroughly he had overcome my doubts that he — the master of pies and cakes and gumball machines — should speak about such an old-fashioned landscape painter.
“Let me tell you a story,” he replied. “I used to kick around junk stores and antique shops in Sacramento. One day I came upon a little landscape painting. I thought to myself, ‘By golly, this looks like Thomas Hill.’ So I bought it. And I’ve learned more from that little painting than nearly anything else I’ve come across in my long life.”
Thiebaud’s stories usually finished with a punchline, and this one was no exception.
“And I got it for only $2,” he smiled.
Master of the poppyfields
September 24, 2020 § Leave a comment
ON MARCH 2, 1903, the California Legislature declared the golden poppy the state flower, prompting its proliferation on objects of all kinds, including paintings. That Granville Redmond started painting poppies in earnest just as the legislature made the flower’s status official was surely not coincidental.
The golden poppy, Eschscholzia californica, provided a distinctive, seasonal burst of color, enlivening yellow-green hills and meadows following winter rains. The poppy was more than a flower, however. It was a symbol of California itself, its golden hue emblematic of the state’s history of mining, its importance as an orange grower, its perennial sunshine, and its amber hillsides in summer. It appealed to locals and tourists alike.
In Redmond’s day, great profusions of poppies thrived throughout the state, but were especially notable in the San Gabriel Valley, where Redmond often worked. In 1904, Redmond started to focus on poppies, and he became incredibly skilled at doing so. Soon no other artist in California could match his aptitude for painting the flower in its natural environment. Like his colleagues, Redmond would come to depict poppies and other wildflowers in combination, pairing them most frequently with lupine, which provided a perfect, blue-purple complement to the poppy’s orange-yellow hue.
In many of his paintings, Redmond maintained what he considered to be a self-respecting balance between color and quiet, with poppies animating landscapes that were subtly hued. The poppies and lupine nestled within the otherwise tonal expanse provide orchestrated bursts of seasonal color — often just enough to leave the viewer longing for more. Redmond himself remained personally inclined toward quieter paintings, preferring, as he told an art critic for the Los Angeles Times, to paint pictures of “solitude and silence.” And yet, he confessed: “Alas, people will not buy them. They all seem to want poppies.”
MORE: “Granville Redmond’s quieter side“
— Excerpted from Granville Redmond: The Eloquent Palette, by Scott Shields and Mildred Albronda.
Making a move
July 1, 2020 § 1 Comment

“COMMENCE AGAIN,” the great early California artist Arthur Mathews instructed his students as he tossed their drawings into the dustbin. We are taking his advice, and are delighted to relocate ourselves and our gallery to beautiful and historic Santa Barbara, where we will continue to exhibit work online and by appointment, perhaps with the occasional pop-up when the fates allow.
We are especially happy to be in the area of California’s Central Coast where HENRY VILLIERME created most of his work. Henry lived in nearby Ojai for more than 50 years after being anointed as one of the original group of 12 artists who became known as the Bay Area Figurative painters after a 1957 exhibition at the Oakland Museum.

We’re also happy to be bringing SANDY OSTRAU back to Santa Barbara. Sandy is a proud graduate of UCSB, where she was a big star on the soccer team. Her juicy paintings of the California coast — north, central and south — are among the most exciting works of our time.
And while KEN AUSTER perfected his of-the-moment style painting the streets, bars and restaurants of San Francisco and New York, he worked and surfed at points farther south near his home in Laguna Beach. We’re happy to continue to offer work from the occasional estate and from his own.
— Thomas Reynolds
‘Commence again’
May 22, 2020 § 1 Comment

By HARVEY L. JONES
Arthur F. Mathews’ well-deserved reputation as a hard master was revealed in his frequently harsh criticism and caustic comments about the students’ work. Although they regarded him with fear and awe, the students in his drawing classes were noted for the high quality of their draftsmanship.
As it was in the Parisian art academies, Mathews met with his classes twice weekly for the purposes of instruction and review of the students’ accumulated work. He had little patience with the untalented and was known to ignore some of the students working at their easels, making neither comment nor criticism for days or weeks at a time, as a way of discouraging all but the most diligent and dedicated in the class. Those students who aspired to Mathews’ high standards were rewarded with his generous attention and encouragement.
Despite his dictatorial teaching methods, Mathews did not expect the students to imitate his own approaches or themes. Moreover, during his 16 years as director of the California School of Design in San Francisco, he always advised his best students to seek further study in Paris. Mathews was also very supportive of the efforts of women in the arts.
A large number of California’s best artists, both men and women, from the first half of the 20th century were his students. They include, among many others, his wife Lucia Kleinhas Mathews, Armin Hansen, Florence Lundborg, Francis McComas, Xavier Martinez, Anne Bremer, Gottardo Piazzoni, Ralph Stackpole, Giuseppe Cadenasso, Isabel Hunter, Granville Redmond, Joseph Raphael and Euphemia Charlton Fortune.
— Excerpted from The Art of Arthur & Lucia Mathews by Harvey L. Jones (Pomegranate 2006), published by the Oakland Museum.

On the ramparts of high art
October 21, 2019 § Leave a comment
IN THE EARLY 1880s in San Francisco, Samuel Marsden Brookes had been hard at work, waiting patiently for better times. His paintings, of which he by now had a large number, were stacked all around the studio, with good prices affixed to them. Once Brookes put a price on a canvas, not even Satan himself could make him reduce it.
One portrayed a life-size peacock, posed on a balustrade before a palatial country house. The painting had been languishing in Brookes’ studio for quite some time, waiting for a buyer. The longer the bird remained on his hands, the higher Brookes jacked up the price. He had started at $750, a figure already pronounced much too high by his dealer. Out of sheer spite Brookes immediately raised it to $1,000. Thereafter, the price of the peacock had steadily escalated. From $1,000 it went to $1,200, then $1,500, then $1,700. By the time Timothy Hopkins, adopted son of the late Mark Hopkins, came to see the painting, the price had soared to $2,000. A few days later, when Timothy returned with Mark Hopkins’ widow for a second look, Brookes promptly raised the price to $2,500, announcing that, while he did not have any money he did have the picture, “and here it stays until I get my price.” In the face of such rapid developments, Mrs. Hopkins surrendered on the spot, adding two still lifes, one with apples, one with fish, for a total of $3,000.
The idea of the solitary artist brandishing his mahlstick on the ramparts of High Art, willing to die, yet prevailing in the end, was inspiring. However, it was merely the exception confirming the rule.
— From Artful Players: Artistic Life in Early San Francisco by Birgitta Hjalmarson
Popping up again
May 3, 2019 § 2 Comments
Q & A | PAMELA FEINSILBER
For two decades he ran the Thomas Reynolds Gallery, an elegant, welcoming art gallery just off Fillmore Street. Since 2015, Thomas Reynolds has exhibited art online and privately by appointment. When a jewel of a space at 1906 Fillmore became available a couple of years ago, he organized a pop-up exhibition. And now, until the end of June, he’s showing art there again.
We met when you were my boss as editor and publisher of California Lawyer magazine. The next thing I knew, you had an art gallery. How did that happen?
I got interested in art and design as a young lawyer in Chicago, going to the Art Institute on Thursday nights. When I came to California Lawyer, we always aimed for strong covers — we even had a Gauguin on the cover once when we wrote about litigation over the bequest that created the Armand Hammer Museum in L.A. I think you edited that story. Through the magazine, I met some wonderful, just-emerging contemporary California painters. Francis Livingston and James Stagg both painted early covers of California Lawyer, and both were in my first gallery show, in 1994.
What made you decide to open a gallery?
I happened into the graduate exhibition of a young painter who lived near Fillmore, Veerakeat Tongpaiboon. His family owned Neecha, the Thai restaurant then at Sutter and Steiner, and many of his paintings were of this area. I lived here, too, and had already fallen in love with the neighborhood. On a lark, I rented the three-room Victorian space at 2291 Pine Street to show Veerakeat’s paintings, and those of a few other artists I admired. I had a six-week lease — it was to be one exhibition, not a new venture.
What happened?
I loved it — both being surrounded by art and becoming more involved in the neighborhood. And people loved Veerakeat’s paintings. His first three shows sold out and he was able to buy a home nearby, where he still lives and paints. I found a lot of satisfaction in helping launch the careers of some incredibly talented painters who’ve had great success.
Feasting with the Staprans
April 23, 2018 § Leave a comment

Ilona and Raimonds Staprans with his biographer, Paul Karlstrom, at left.
I FOUND MYSELF in the lucky seat between Ilona and Raimonds Staprans at an intimate and artsy dinner party down the peninsula the other night. They are two fascinating people. She’s a scientist at UCSF. He’s one of California’s preeminent painters, still going strong in his 90s, and an eminent playwright in their native Latvia, where they spend a part of every year.
Raimonds Staprans is getting some of the recognition he richly deserves, with an exhibition at the San Jose Museum of Art through May 20 called “Full Spectrum.” It was seen last fall at the Crocker Museum in Sacramento, which organized the exhibition and published a beautiful catalog. Even if you’ve seen his paintings, you may be surprised by the breadth of his work over the past six decades. And the paint and light and color are luscious.
In a talk in San Jose, he described how his work flows out of his daydreams.
Saving the murals
August 26, 2019 § Leave a comment
IT’S BEING HAILED as a victory. The school board in San Francisco reversed course and voted merely to cover up — not paint over — a remarkable series of murals by noted artist Victor Arnautoff at George Washington High School. But the plan is still to make the frescoes disappear.
That’s a shame. A quickly scheduled, little noted public viewing of the controversial murals on a weekday afternoon nonetheless brought out scores of people eager to see for themselves what the fuss was about. It turned into an art party, with a gathering of many leading figures from the Bay Area art world. Most seemed to agree it was a silly idea to destroy — or even hide — the murals so that the young minds of high school students would not be subjected to the trauma of passing by Arnautoff’s intentionally provocative art.
Said one: “If they’re worried about the kids being traumatized, don’t let them read the front page of The New York Times.”
MORE: “The case for keeping the murals”