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Artist: Patrick Antonelle ( United States, 1955 - present ) -
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Main Category: Painting
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Genres: American Regionalism, Impressionism American, Pointillism
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Biography: An American Impressionist
Patrick Antonelle has been painting professionally for almost four decades, all in the singular, continuous passionate pursuit of perfecting his talent. Although an alumnus of the School of Visual Arts at the Brooklyn Museum and the Art Students League, it has been mostly self-education and confidence that has guided him from novice to master of his profession. In essence, he attributes life and nature as his best teachers. When not painting the landscapes of Pennsylvania or the seascapes of Long Island, Patrick has most recently been portraying the many facades and moods of New York City, Central Park and their environs. They are depictions of his favorite New York architecture in various seasons rendered in his own Pointillistic- Impressionistic style. In this genre, he often resurrects nostalgic New York scenes that have been long forgotten.
Manhattan Arts magazine called Patrick "the foremost impressionist painter of our century." Also dubbed the "American Renoir", his tendency to transform the prosaic urban scene into something infinitely romantic is evident in his work. His goal with each canvas is to combine nature with the ingenuity of man, specifically as embodied in architecture, thereby creating a peaceful, workable harmony to reflect upon and absorb.
Over the years, he has been the recipient of many honors and awards derived from his group and one-man shows. His works are included in numerous corporate and private collections, including the Trumps and Regis Philbin as well as Apple Computer, Citicorp and Panasonic.
Patrick believes in a sincere and direct approach to life and he presents an honesty and truth with an ambiance of tranquility via his paintings. It is his hope and intention with each image that the viewer experiences the serenity and peace he strives earnestly to convey. An editor of Art Speak Magazine, commenting on Patrick's landscapes of Snow in the Woods and Reflecting Waters, stated that Patrick's works offer an entree into the eternal calm and freshness of nature with their scintillating surface of light.
Practicing what he preaches, or paints, Patrick has been actively involved with many charities, donating much time and work. Children worldwide, the elderly, and efforts to conquer aids and cancer have all benefited from his true concern and ensuing actions. Both UNICEF and Tomorrow's Children's Fund regularly feature his artwork on greeting cards to spread joy, beauty and inspiration.
In offering artist hand signed, numbered and embellished (over-painted) limited edition canvas giclee reproductions by SUNFLOWER FINE ART PUBLISHING USA; Patrick hopes to introduce a wider audience to his painterly manifestations of a world more romantic, nostalgic and caring than the one we currently inhabit. Showing in this unique fashion the special relationships of: man, nature and the environment inherited and built, he presents imagery that will inspire you daily.
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Exhibition History: 2003-2009 Sunflower Fine Art Gallery, Garden City, LI NY
2003-2004 Galerie Gee 71, Geervliet, Holland
2003-2004 Arielle's Gallery, Englewood, NJ
2001-2003 National Arts Club, Gramercy Park, New York, NY
2003-2003 World Fine Art Gallery, New York, NY
1990-2003 Kerygma Art Gallery, Ridgewood, NY
2001-2003 NYC Independent Art Fair, The Plaza Hotel, New York, NY
2001-2002 Miller Gallery, Cincinnati, OH
2001-2002 Guild Hall Museum, East Hampton, NY
2001-2002 The Nassau Club, Princeton, NJ
1999-2000 Markman Gallery, Las Vegas, NE
1999-2002 Forever Gallery, Dobbs Ferry, NY
1999-2002 Gallerie JeReviens, Westport, CT
1998-2002 Animazing Gallery, New York, NY
1998-2000 Robin Hutchins Gallery, Maplewood, NJ
1997-2001 National Museum of Catholic Art and History, Rockefeller Center
1997-2001 United Nations International Gallery, United Nations Plaza, NY
1997-2004 Chrysalis Gallery, Southampton, NY
1997-2002 Artrageous Gallery, New York, NY
1996-2005 The Artful Deposit, Allentown/Bordentown, NJ
1996-2002 Hudson River Gallery, Piermont, NY
1995-2007 Salmagundi Club, New York, NY
1995-2002 Arleen Becker Fine Art, New York, NY
1995-2002 Cranberry Station Gallery, Princeton/Cranberry, NJ
1994-2007 Art Expo, Jacob Javit's Center, NY
1996-2000 Gallerie Select, East Hampton, NY
1996-2000 Gallerie Des Hamptons, Westhampton Beach, NY
1996-1999 Sundance Gallery, Bridgehampton, NY
1994-1999 L' Atelier Gallery, Piermont, NY
1994-1999 Gallery East, East Hampton, NY
1994-1997 Cork Gallery, Avery Fisher Hall, Lincoln Center, NY
1991-1995 Gilpin Gallery, Washington, DC
1993-1994 Goforth Rittenhouse Gallery, Philadelphia, PA
1993-1994 Carspecken Scott Gallery, Wilmington, DE
1993-1994 Mitchell Baker Gallery, Baltimore, MD
1992-1994 Gallery at Palmer Square, Princeton, NJ
1991-1994 Kenneth Raymond Gallery, Boca Raton, FL
1991-1994 Blue Heron Fine Art, Hilton Head, SC
1987-1994 Patrick's Gallery, South Street Seaport, NY
1990-1994 Mulberry Art Gallery, SoHo, NY
1990-1994 Naples Art Gallery, Naples, FL
1990-1992 Gallery Americana, Carmel, CA
1987-1991 Morin Miller Gallery, New York, NY
1987-1991 Gallery 84, New York, NY
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Collections: Citicorp
Panasonic, Japan
Apple Computers
Better Homes and Gardens
Delta Airlines
NY Stock Exchange
Patek Phillipe, Geneva
Morgan Stanley
Deutsche Bank, Germany
Statewide Title
Paine Webber
Prudential Securities
Bergdorf Goodman
Rudolph Giuliani
Celeste Holm
Jerry Seinfeld
Swedish Royal Family
Frank Sinatra
Isabella Rosellini
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Bibliography: Colorful and spirited, Patrick Antonelle's work displays the artist's fascination with contemporary urban themes.
His paintings have been acclaimed for their detailed portrayals of everyday people and places. Whether enjoying a night in the town, sweating out rush hour on the highway or simply enjoying the changing seasons amidst the urban "landscape"; Antonelle's peaceful images face life's joys and challenges with irrepressible bucolic-ism.
A true classic, Antonelle articulates through his art the influences and emotions experienced by us all.
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For a regular guy from Long Island to be dubbed “the American Renoir” could be daunting. But Patrick Antonelle takes it in stride.
Nor did the good natured Antonelle seem to mind when one interviewer recently mentioned his name in the same breath as that of Thomas Kinkade, although he should have. For while Kinkade is a popular schlock phenomenon, known for his cozily artificial treatment of light, Antonelle is a real painter with an unerring sense of natural light who just happens to have a popular following. Which is to say, not only is Antonelle`s work in numerous corporate collections and prestigious private collections of contemporary art, it has also been purchased over the years by people like Leonard Bernstein and Frank Sinatra. Serious collectors who are normally more likely to buy a Renoir or a Monet than a work by a living painter.
An unabashed adherent of Impressionism and Pointillism, Antonelle updates the techniques of both movements to create his New York City scenes, as well as his landscapes of Nantucket and European locations in England, France, and Italy. Indeed, he is one of the few contemporary painters who has mastered those techniques sufficiently to capture subtle qualities of light on different surfaces as proficiently as his Parisian predecessors. In his New York views, particularly, he shares their ability to invest scenes of everyday life with freshness and vivacity.
Of course there has always been an American Impressionist tradition, going back to Childe Hassam and other members of The Ten. In recent decades, however, the tendency has been to imitate the superficial mannerism of the movement without making the thorough study of light that has always given Antonelle’s paintings the edge. One of the reasons for this is that Antonelle, who has gained his following over the past three decades, has always known what he wanted to do in painting.
Ever since his student days at the School of Visual Arts, the Brooklyn Museum Art School, and The Art Students League, Antonelle has known what he has wanted to do and has been sharpening his skills towards that end. Anyone who has spoken with him knows that he is quite aware of and knowledgeable about abstract painting.
Still, like Fairfield Porter, Wolfe Kahn and other New York realists who were not in opposition to Abstract Expressionism, Antonelle (who had the respect for his abstract peers when he showed at the gallery 86, one of the original Tenth Street Galleries, after it relocated to 57th Street in the 1990th) has always preferred to apply abstract principles to recognizable subject matter. That he has also obviously absorbed certain principles of Asian painting is evident in works such as “Winter in the Park,” a scene in which tiny figures can be seen traversing the snow banks in Central Park . The diminutive scale of the figures, here as in most of Antonelle’s paintings and prints, hints at the insignificance of the human being in the total scheme of things, which has always been a prominent feature of traditional Chinese landscape painting. Here, too, the misty quality of the tall buildings looming over the park and its bare, slender trees also harks back to the misty mountains seen in Chinese scrolls, although the falling snow affords Antonelle the perfect opportunity to display his pointillist technique as well. And while most Chinese painting is basically monochromatic, being accomplished with gray tones in variously diluted shades of black carbon ink, Antonell also brings all of the chromatic subtlety he acquired in his study of the Impressionists to bear in the soft pink tints of the sky and the variety of delicate hues he employs to the sense of waning afternoon light on the snow in this exhilarating winter scene.
By contrast , Antonelle is able to indulge his love of lush of color and richly textured foliage in another New York scene called “Gramercy Park Summer,” with its silver of clear blue sky peeking through the verdant trees and lawns, while a person walks a little dog a pure path dapped with the shadows of the leaves. Here, particularly, one sees the artist’s almost transcendent way with light in his handling of the yellow accents on the grassy areas bordering the path, as well as in the shimmering atmosphere he evokes where the trees recede into the distance on the lawn.
As a young man Antonelle considered becoming an architect, and this has inspired him over the years to make the landmark buildings of old New York some of his favorite subjects. But while these paintings are tinged with nostalgia for the older style of architecture that he prefers over the glass facades of more recent buildings, his command of firm, architectural linear strokes, along with his softer handling of the more ethereal elements of light and shadows, have long made his city scenes favorites of discerning collectors.
More recently, however, Antonelle’s European landscapes have become just as prized, particularly his scenes of Tuscany, Italy, with its hilly topography and fertile vegetation, which he evokes with great vigor. Particulary exemplary in this regard is “Sunflowers-Tuscany,” where clusters of the big, brilliant yellow flowers dominate the foreground of the composition and recede into the distance, where red-roofed rustic houses are visible, set against the verdant hills.
Byron Coleman “Gallery & Studio” magazine
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