Still life painting 2014-2015: International Exhibition


  • Chi Han Cheng | San Francisco, California | Father 36x12 in. Oil on Panel $2000

  • Chi Han Cheng |San Francisco, California | First Meal in the Morning | 16x20 in. oil on panel $1600

  • Chi Han Cheng |San Francisco, California |This Morning 16x20 in. oil on panel $1750

  • Chi Han Cheng |San Francisco, California |Final 18x24 in. oil on panel $1600

  • Sean Stewart | Glenmont, New-York | Rusty Parts oil on cut plywood 34x46 in. $2000

  • Sean Stewart | Glenmont, New York | Greetings from Lake George | acrylic 32x28 in. $1000

  • Sean Stewart | Glenmont, New York | Nothing Can Replace the Hour of Splendor in the Grass and Glory in the Flower |acrylic on paper 30x24 in. $1000

  • Sean Stewart | Glenmont, New York | Sea Shells | oil on cut birch plywood 32x42 in. $2000

  • Ramon Lorenzana Reyes | Guatemala |Roses | Oil on canvas 25x36 in.

  • Paul Abeleira | London, Ontario Canada | Pumpkin on a Bench Oil on canvas 16x20 in. $300

  • Paul Abeleira | London, Ontario Canada |Wine Fruit Still Life | Oil on-canvas 18x24 in. $600

  • Paul Abeleira | London, Ontario Canada |Pomegranates | Oil on canvas 11x14 in. $275

  • Paul Abeleira | London, Ontario Canada |Pasta Roller | Oil on canvas 20x24 in. $600

  • Paul Abeleira | London, Ontario Canada |Cannolis Espresso | Oil on canvas 12x12 in. $350

  • Michelle Montrose | San Diego, California | QWERTY | Oil on Canvas 12x12 in. $400

  • Michelle Montrose | San Diego, California |Pastimes | Oil on Canvas 12x12 in. $400

  • Michelle Montrose | San Diego, California |Time | Oil on Canvas 12x12 in. $400

  • Michelle Montrose | San Diego, California |Selfie |Oil on Canvas 12x12 in. $400

  • Michelle Montrose | San Diego, California |Your Destination Is On The Right | Oil on Canvas 12x12 in. $400

  • Michele Beaujardin | Miami, Florida | Tea time | oil on panel 4x6 in. $950

  • Michele Beaujardin | Miami, Florida |Sprouted Garlic | Oil on wood 5x6 in. NFS

  • Michele Beaujardin | Miami, Florida |Red Leaf Lettuce | Oil on canvas | 50x60 in. NFS

  • Michele Beaujardin | Miami, Florida |Black Plums in a White Bowl | 6x6 in. $1100

  • Michele Beaujardin | Miami, Florida | Delicate Balance | oil on masonite 5x7 in. $1100

  • Joe Krawczyk | Orlando, Florida | Trio | Acrylic on canvas 48x24 in. $2000

  • Joe Krawczyk | Orlando, Florida |Tea For Three | Acrylic on canvas 24x36in. $1800

  • Joe Krawczyk | Orlando, Florida |Holds the Onion |Acrylic on canvas 22x28 in. $900

  • Joe Krawczyk | Orlando, Florida | With a Twist | Acrylic on canvas 30x40 in. $2800

  • Joe Krawczyk | Orlando, Florida | Moms Twomatoes | Acrylic on canvas 11x14 in. $350

  • Jette van derLende | Oppegard, Norway | He Who Lives On Illusions Dies of Disappointment |Oil on Linen 70x105 cm. $4000

  • Jette van derLende | Oppegard, Norway |You're Either for Us or Against Us | oil on linen | 70x105 cm. $4000

  • Jette van derLende | Oppegard, Norway |The Beauty of Transition | oil on linen | 70x105 cm. $4000

  • Jette van derLende | Oppegard, Norway |Life is Protected | oil on linen 105x70 cm. $4000

  • Jette van derLende | Oppegard, Norway |Rosa Canina | Oil on linen | 105x70 cm. $4000

  • Jeremy Doss | Christine, North Dakota |Smoking Skull | 9x12 in. $250

  • Jeremy Doss | Christine, North Dakota |Old Pewter Sugar Bowl | 8x8 $200

  • Jeremy Doss | Christine, North Dakota |Pewter Mug Plate | 8x10 in. $225

  • Jeremy Doss | Christine, North Dakota |Old Rawlings| 8x8 $200

  • Jeremy Doss | Christine, North Dakota |Christmas Ornament | 8x8 in. $200

  • Guy Anne Massicotte | Quebec, Canada | Petite Perchaude | Oil on maple wood panel 12x16 in. $1600

  • Guy Anne Massicotte | Quebec, Canada | Tasse ancienne et roses IV...Dragon | Oil on maple wood panel 20x20 in. $2600

  • Guy Anne Massicotte | Quebec, Canada | Parfum d'Asie II |Oil and metal leaf on canvas 30x36 in. $4300

  • Guy Anne Massicotte | Quebec, Canada | Parfum d'Asie I | Oil and metal leaf on canvas 30x30 in. $3900

  • Guy Anne Massicotte | Quebec, Canada | Moitiés et Quartiers de Citron | Oil and metal leaf on canvas 36x48 in. $5200

  • Diane Avis | Las Vegas, New Mexico | oil on canvas 20x30 in. $950

  • Diane Avis | Las Vegas, New Mexico | Dixons Apples | oil on canvas 16x20 in. $650

  • Diane Avis | Las Vegas, New Mexico |Cabbages |oil on canvas 14x20 in. $550

  • Dennis Angel | Las Vegas, Nevada | Homage to Leonardo | Colored Pencil 22x30 in. $3000

  • Dennis Angel | Las Vegas, Nevada | View of the Grand Canal | Colored Pencil 22x30 in. $3000

  • Dennis Angel | Las Vegas, Nevada | Morning Sun | Colored Pencil 22x30 in. $3000

  • Christopher Reid | Wilmington, North Carolina | Truck For Sale | pastel 24x18 in. $1200

  • Christopher Reid | Wilmington, North Carolina | Unslept watercolor 12x16 in. $750

  • Christopher Reid | Wilmington, North Carolina |Checkmate | charcoal1 8x24 in. $1000

  • Christopher Reid | Wilmington, North Carolina |Broken Resolution | watercolor 12x16 in. $500

  • Christopher Reid | Wilmington, North Carolina |Broken Home Abandoned | pastel 16x12 in. $500

CLICK HERE: Register for Exhibition Discussion Forum

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Curator’s Top Pick

Chi Han Cheng |  San Francisco, California |  This Morning | 16×20 in.oil on panel $1750


Curatorial Statement

Hall Groat II,Professor and Chairperson, Art and Design Department, SUNYBroome Community College

This year New York Art Collection received portfolio submissions from over fifty different artists from very diverse backgrounds, and ultimately selected fifty-four pieces created by thirteen different artists from four different countries. The committee strived to select pieces that were diverse in nature and were well executed artistic explorations that conceptually communicated the spirit of still life painting.   One of the most compelling artists curated into this exhibition  is Chi Han Cheng from San Francisco, California. Chi Han Cheng’s oil paintings are  classical in nature and outstanding examples of a contemporary painter making use  of mundane, ordinary objects to visually express something extraordinary. His work is both ageless and timeless, and evokes an aesthetic and conceptual qualities akin to the renowned contemporary Spanish painter, Antonio López García.  In the painting entitled This Morning the vantage point is from above, looking downward at an elegant composition of utilitarian objects, including a large butcher’s knife, round soup spoon, fork, half of a pear beside a tomato wrapped in plastic, which are both nested within a glass Tupperware-like dish. Then positioned slightly off center, serving as the focal-point is a avocado half enshrined in clear plastic.  All of these items are composed on top of a wood cutting board, which leads the viewer into the composition through a dynamic angle jutting upward from the bottom edge of the picture plane. This atypical, mysterious composition indeed poses more questions than provides answers. Why is the connection between these objects, and why are they situated this way?  The positioning of the objects appears intentional, yet uncontrived and natural, suggesting the individual who positioned them in this manner is obsessively concerned with their organization and connection with something we don’t see.  One can sense the artist’s joy in observing these sensitively painted objects. There exists a deftness of touch in the subtle contrasts of each object’s texture.

     Norway painter, Jette van der Lende’s work on several levels  is equally as compelling with their dark, ominous backgrounds. In the piece entitled,  He Who Lives On Illusions Dies of Disappointment, a metal bullet is juxtaposed beside a small bottle of pink nail polish that has partially spilled out onto a reflective tabletop. This light-handed metaphor is visually seductive, and  certainly is an adept example of contemporary Hyperrealism.   Is the artist associating the femininity of nail polish with firearms and blood?

     Collectively, the artists who stand out in this exhibit are avoiding classical still life painting compositional archetypes.  Like early pioneers charting new territories, the most effective still life painters eliminate the obvious, and allow the content to naturally emerge through studying the subject matter.  The most successful pieces strike the eye and seduce the mind into exploring the subject that is not at first apparent.

Jette van der Lende,Chr.Krohgsvei68,Oppegard,Norway, he who lives on illusions, dies of disappointment,oil on linen,70x105cm,$4000

Jette van der Lende | Norway|  He Who Lives On Illusions Dies of Disappointment |Oil on Linen 70×105 cm. $4000

Artist Commentary:

I read that you asked if I was associating femininity with firearms and blood. I have been thinking of enlightening you into my thoughts, but at the same time it is intriguing to see what others are thinking when they see my painting.

 Well, I read about several women that was beaten up by their boyfriend/husband – in the end the women were killed, shot. Then it Nesøya happened near me. That made me think: what about the love they felt at first? Women are making themselves beautiful to attract men, just sometimes they have made all this effort just to attack the wrong man – and it has A fatal ending. The bullet is therefore almost a lipstick. You have to check better before you know. That is my message.

 Jette van der Lende



The New York Art Collection dealership is in search of outstanding still life paintings in all mediums, including oil, acrylic, watercolor, gouache, egg tempera and mixed-media.  The dealership welcomes artistic explorations of both traditional and contemporary subjects.  Visual artists worldwide are invited to submit up to five still life painting entries, along with an artist statement.  How has the genre of still life painting evolved since the 17th century? What ideals are contemporary artists now communicating through the classical genre of still life painting? Do  simple, mundane, ordinary objects have the potential to be transformed into something extraordinary through a painting?


Historically, common still life subjects include vessels, food, flowers, books or clothing.  A still life painting which reminds us of life’s fleeting qualities is called a vanitas. This genre flourished particularly among Dutch painters of the seventeenth century.  Jean Chardin (French, 1699-1769) is the most universally admired painter of still lifes.  Chardin painted many pictures of everyday items, including kettles, vegetables, and earthenware vessels, with superb modeling of color, light, and texture. Late nineteenth century, Post-Impressionist Paul Cézanne, made a living thing out of a teacup, or rather in a teacup he realized the existence of something alive. He raised still life to such a point that it ceased to be inanimate. He painted these things as he painted human beings, because he was endowed with the gift of divining the inner life in everything. His color and line are alike suitable to the spiritual harmony.


Artist Statements Submitted 

Dennis Angel | LAS VEGAS, NEVADA

My desire to draw is motiviated by my interest in observation and underscored by my respect for the history of the graphic arts. Because of the patience and time required to complete detailed, perceptual drawings, the still life genre is the ideal vehicle for the undertaking of uninterrupted, optical investigations. By carefully arranging and lighting objects on a tabletop surface, I am able to analyze, record and manipulate subtle transitions in shape, tone and edge in service of a heightened reality, a personal theater of sorts. When developing imagery in black and white I have chosen metal point, a painstakingly unforgiving antique process, commonly used by artists in the 13th and 14th centuries.  When properly layered, this process possesses a luminosity and delicate tonal range otherwise unattainable with any other graphic medium.  Additionally, the use of metal point further divorces the object from its usual function, in a sense elevating it, while providing an intriguing contrast between the present and the past. By employing copper, silver, gold and platinum, different patinas are achieved over time as the metals slowly oxidize in reaction to the air around them, promoting subtle change long after the actual drawing is completed. When working in color I use Verethin colored pencils which allows me to draw with the same control and precision that I enjoy with metal  point.  However, with this medium I am able to layer color extensively, giving the drawings a rich luminosity and depth similar to  the visual effects found in glazed oil paintings.  The choice of objects in these pieces is more directly related to art history and the expansion of a personal narrative. Ultimately, I wish for my drawings to serve as quiet, tender and thoughtful records of acute optical experiences, embracing craftsmanship and formalism as fundamental criteria upon which standards of beauty can be evaluated and maintained. ____________________________________________________________________________________________________________________________________________


My process begins in prayer, inner reflection, and realization. I think about my flaws, habits, attributes, and the things that make me a human living in the modern age. After that, I begin to notice the same aspects in other people. The wheels begin to turn, and I brainstorm ideas as to how I can cast light on the aspect I want to explore. While I am thinking about how I want to visually portray my message, I also consider how I can involve other people, or how I can make my art engaging and interactive. This is important to me because I feel the work gains value when it connects to the world it lives in. I don’t just paint what I see. I also paint relationships; the relationship between objects and spaces, between humanity and the physical world, and between the world where my painting exists and the world within my painting. To achieve this, I strive to include traditional techniques, symbolically salient subject matter, and a process that edifies my reasons for creating, in each piece of artwork. _________________________________________________________________________________________________________________________________________


My artistic path started with Fine Art studies but I am mostly self-taught with oils.  Fascinated by Salvador Dali, I dive into early and recent specialised publications.  Putting into practice what I read, along with attentive observation of masterpieces by Vermeer, Dürer, Rembrandt, and  of contemporary artists, brings me to develop a very personal painting style and technique. I am part of these artists who search for the inspiring image—if by nothing else then by illustrating how visually beautiful life can be.  My progression as an artist to contemporary realism evolved with my perception of the world and our human experiences in it. I began to sublimate my creative expression toward work of greater skill, precision in execution and clarity in thought. Some paintings are a visual play on words or ideas that are part of my experiences. Other pieces reflect the simple beauty I may find in seemingly ordinary objects composed together, influences of color in nature or the splendor of the human form. My purpose is to connect the viewer sensually to the subject:  In every piece that I create, I aspire for authenticity in subject, harmony of color and resonance of light and shadow.


Jette Van der Lende |  OPPEGARD, NORWAY

I want to portray a story. I want to tell about small cunnings in life, I want to tell about injustice in our society, I want to tell about what is important in life; I want to tell about life and death. I have chosen to portray a subject that symbolizes what I want to tell.  I give the item a scene and a spotlight so I can create an atmosphere of attention. I seek for beauty even in the difficult objects, to see with new eyes. I wish you to stop and feel invited to the scene, were time is unimportant. I wish you would take some of that feeling with you.



Paul Abeleira was born and raised in London Ontario, Canada.   After earning his  Bachelor of Fine Arts degree at The University of Western Ontario, he continued his studies in portraiture with Daniel Greene and Peggy Baumgaertner.  He has also developed his skills through classes at Grand Central Academy in New York City and Chicago’s Palette & Chisel Academy of Fine Arts.  
While  mostly known for his still lifes of beautifully presented everyday objects and food, Paul is equally skilled at landscapes, portraits and figures.  He has exhibited his work in both solo and group shows for the past 15 years, gaining a healthy following of collectors in both the gallery and print markets.  Aside from teaching painting at The ARTS Project in his native London, Paul is also an active workshop instructor and demonstrator for the many art associations in the surrounding area.



I feel like the traditional still life subjects have been done so well by so many artists in the past that it is necessary to add something new to the conversation. I try to integrate the subject back into an environment. Too often a still life appears to be objects done as a study for another painting. As an artist, I also want to inject something of myself and my personal experiences into each painting. I incorporate modern elements but I prefer subjects that are worn or rusty over shiny new materials. Still life is also an opportunity to play with textures and sometimes the texture becomes the true subject of the painting. 



When I first entered into the world of tonalism/ realism, the challenge for me was to place a simple object in front of me and try to reproduce it as accurately as possible. But as time progressed, this concept evolved, (as with many artists), to not just merely render a ‘copy’ of what is seen before me at first glance, but to really study the object … to observe all of the intricacies, the subtle nuances, the temperatures etc. It became apparent to me, very quickly, that I had been overlooking much of the beauty inherent within a common everyday object. As both my technique and this concept evolved even further, I began to realize that I (either consciously or otherwise) was beginning to exaggerate or accentuate some of the tones, temperatures etc. that most appealed to me, while diminishing others. I was beginning to ‘tell a story’ or ‘add my own spin’ within the piece. We all see ‘reality’ differently from each other, and individual views of reality are as diverse as the individuals themselves. This is the gift that the true artist presents – the ability to see the world through their eyes.

“Art does not reproduce what we see; rather, it makes us see.”  ~ Paul Klee

Impasto painter Noel Gregory, ~ “Photographs do not always capture the intensity of light, the subtlety of tone, the shadows, depth or texture. A painting can portray all these things and more.”

It is through the filter of our biased vision that we see our version of ‘reality’. It is biased through our own emotion, our intellect, our likes and dislikes, our pain or pleasure. It is a complement for an artist to be told, “You have captured and painted the soul of the sitter.” However, when we see a piece like this, we are also seeing into the soul of the artist. It is said that the camera doesn’t lie …and I say neither do brushstrokes; they just speak a different language. A language that comes directly from the mind and heart of the artist.

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