Oil on linen, 36” x 46” Framed, 30” x 40” unframed
Mall Memories
SOLD
Memorial Light
SOLD
Monument Maples
Oil on linen, SOLD
Pei's Gift
Oil on linen, 18" x 24" (canvas size)
Piedmont Autumn
SOLD
Revive
SOLD
Rock Creek Primavera
SOLD
Speaker's Perch
Oil on linen, 39” x 59” framed, 36” x 56” unframed
Spring's Path
Oil on linen, 67” x 55” framed, 64” x 52” unframed
Through the Cherry Trees
SOLD
Time to Rest
SOLD
Museum Series
Another Time
Oil on linen, 38" x 48" framed
Time seems to be in suspended animation during quarantine. Days are indistinguishable from one another. This current condition affords us ample time to reflect back on one’s life and the choices that were made. Here is an older man in the National Gallery of Art, seemingly deep in thought, surrounded by women from the 19th century.
National Gallery of Art, Washington DC (L-R):
1. Édouard Manet, Madame Michel-Lévy, 1882
2. William Merritt Chase, Study of Flesh Color and Gold, 1888
3. Mary Cassatt, The Black Hat, 1890
4. Edgar Degas, Young Woman Dressing herself, 1885
Escape
SOLD
Gestures
Oil on linen, 30 x 36 inches
This painting is my homage to Degas, the master of capturing human movement. It was completed last year during the worst of the pandemic and lockdown, when it was often impossible to visit family and loved ones. Pictured is my mother in her hometown Cleveland Museum of Fine Arts, gesticulating her thoughts about the painting to my wife Patricia.
After Degas’ death, his heirs discovered in his studio dozens of small wax and clay figures, never before seen or exhibited. Many were restored and later cast in bronze. Today they are highly prized, three-dimensional studies of people in motion, often with the extreme or exaggerated gestures that Degas so loved.
Go West
SOLD
Homebound
34” x 48”, oil on linen
Justice For All
SOLD
I was intrigued by this young guard in the Phillips Collection and looked for an opportunity to include him in a painting. On my mind were the Black Lives Matter movement and the countless tragic instances of injustice across the country. Then I came across Honoré Daumier’s, Three Lawyers, and thought it was the perfect work to spotlight some the current issues facing the African American community. Daumier revealed his disgust for the judicial system in mid-19th century France by depicting three haughty and corrupt attorneys conspiring with each other outside the courtroom.
Daumier spent much of his career drawing, painting and sculpting political satires and caricatures of prominent figures of the day. You might say Daumier was one of the very first political cartoonists. His activities even landed him in jail for six months in 1832, after he was accused of sedition for lampooning King Louis-Philippe.
Los Niños
SOLD
Shelter from the Storm
Oil on linen, 38" x 48" framed $12,500
The Prodigal Son
Oil on linen, 44” x 56” framed
For years, I had in my files this great image of a father and son, walking hand-in-hand and wearing matching casquettes, through the National Gallery of Art. I always wanted to somehow incorporate them in a painting but I couldn’t find the appropriate painting as their complement. Then I stumbled across Puvis de Chavannes’ The Prodigal Son from 1879. This biblical story of redemption, forgiveness and familial bond resonated in a deeply personal way.
Waiting
Oil on linen, 38” x 48” framed
You're Not Alone
Oil on linen, 38” x 48” framed
While attending an event one evening at the grand Kogod courtyard of the National Portrait Gallery, my wife Patricia and I learned the upstairs galleries were open for guests. We took advantage of this rare opportunity to visit some of our favorite paintings.
Smithsonian American Art Museum - L-R:
Cecilia Beaux - Man with the Cat (Henry Sturgis Drinker), 1898
Abbott Handerson Thayer - Roses, 1890
John Singer Sargent - Elizabeth Winthrop Chanler (Mrs. John Jay Chapman), 1893
American Landscapes
A Sultry Evening
Oil on Linen, 28” x 42” Framed
Along Back Roads
Oil on linen, 24” x 30” Framed, 18” x 24” Unframed
Appalacian Sunset
Oil on linen, 36” x 56” framed, 30” x 50” unframed
April Road
Oil on Linen, 32” x 44” Framed, 24” x 36” Unframed
At Their Peak
sold
Autumn Grazing
Oil on linen, 32” x 44” Framed, 24” x 36” Unframed
Battlefield Light
Oil on linen, 24” x 30” framed, 18” x 24” unframed
Ben Venue
Oil on Linen, 22” x 30” Framed, 16” x 24” Unframed
Blossom Path
Oil on Linen, 26 x 32” Framed
Boardwalk Evening
SOLD
Canyon Spotlight
Oil on Linen, 30” x 36” Framed
Eastern Market
Oil on linen canvas, 48" x 72" framed
Farm at Dusk
Oil on Linen, 23” x 27” Framed
(The sale of this piece benefits our non-profit, Zenith Community Arts Foundation)
Fleeting Light Winter
SOLD
Great Falls Afternoon
Oil on linen, 36” x 46” Framed, 30” x 40” unframed
Kahakuloa Mist
Oil on Linen, 32” x 42” Framed
Ladies Pool
Oil on Linen, 32” x 44” Framed, 24” x 35” Unframed
Lone Tree at Rosario Head
Oil on Linen, 28” x 38” Framed
Manassas Shadows
Oil on linen, 20” x 28” Framed, 14” x 22” unframed
Night and Day
Oil on Linen, 30” x 36” Framed
Old Rag Morning
Oil on Linen, 26” x 32” Framed, 18” x 24” Unframed
Orcas Sweet Peas
Oil on Linen, 36” x 40” Framed
Potomac Rocks
Oil on linen, 30” x 36” framed, 24” x 30” unframed
Returning to Light
Oil on linen, 42” x 54” framed, 36” x 48” unframed
September Crabapples
SOLD
Smithsonian
Oil on linen, 64" x 52"
Snoqualmie Solitude
Oil on Linen, 30” x 40” Framed
Spring's Path
Oil on linen, 67” x 55” framed, 64” x 52” unframed
Still Morning
Oil on Canvas, 28” x 38” Framed
The Day After
Oil on Linen, 21” x 25” Framed
Through the Cherry Trees
SOLD
Vineyard Morning
Oil on Linen, 25” x 31” Framed
American West
Aftermath
Oil on linen, 30” x 50”
Canyon Spotlight
Oil on Linen, 30” x 36” Framed
In the Pink
Oil on linen, 16” x 24”
Kahakuloa Mist
Oil on Linen, 32” x 42” Framed
Lone Tree at Rosario Head
Oil on Linen, 28” x 38” Framed
Night and Day
Oil on Linen, 30” x 36” Framed
Orcas Grazing
Oil on linen, 18” x 24”
Orcas Sweet Peas
Oil on Linen, 36” x 40” Framed
Snoqualmie Solitude
Oil on Linen, 30” x 40” Framed
Still Morning
Oil on Canvas, 28” x 38” Framed
Valley Sentinels
Oil on linen, 30” x 40”
Vineyard Morning
Oil on Linen, 25” x 31” Framed 18” x 24” Unframed
Winter's Mist
Oil on linen, 16” x 24”
Europe
A L'Ombre du Clocher
Oil on Linen, 36” x 30” Framed
A Place in the Sun
Oil on Linen, 43” x 37” Framed
Approach to Siena
Oil on linen, 30” x 44”, 38” x 52” framed
Archway to the Sea
Oil on Linen, 27” x 23” Framed
Au Fond de la Ruelle
Oil on Linen, 34” x 30” Framed
Bonnieux
Oil on Linen, 37” x 51” Framed
Cavaillon
Oil on Linen, 38” x 31” Framed
Gordes
Oil on Linen, 40” x 58” Framed
L’Huere du Dejeuner
Oil on Linen, 31” x 37” Framed
La Civette
Oil on Linen, 32” x 40” Framed
Le Marché du Lundi
Oil on Linen, 22” x 30” Framed
Les Bouquinistes
Oil on Linen, 41” x 57” Framed
Les Couleurs de Provence
Oil on Linen, 26” x 32” Framed
Memories of Chianti
Oil on linen, 18” x 24”
Morning Cap Ferrat
Oil on Linen, 36” x 40” Framed
Morning on the Seine
Oil on Linen, 30” x 36” Framed
Morning, Pont au Change
SOLD
Night Walk
Oil on linen, 20” x 30”
Oltrarno
Oil on linen, 24” x 36”
Pont Louis-Philippe
Oil on Linen, 24” x 32” Framed
Roman Nocturne
Oil on Linen, 24” x 36” Framed
Sant'Angelo Light
Oil on Linen, 20” x 32” Framed
Taking Time
Oil on Linen, 34” x 26” Framed
Through the Ponte Vecchio
Oil on Linen, 30” x 42” Framed, 24” x 36” Unframed
Time to Play
Oil on Linen, 47” x 37” Framed
Towards the Palazzo Vecchio
Oil on linen, 30” x 24”
Tuscan Sunset
Oil on linen, 22” x 36”
Waiting for the 63
Oil on Linen, 32” x 38” Framed
BRADLEY STEVENS was born in Pittsburgh, Pennsylvania in 1954 and raised in Westport, Connecticut. In 1972, he attended George Washington University in Washington, D.C., where he earned a Bachelor of Fine Arts in 1976, and a Master of Fine Arts in 1979. In addition to his formal art education, Stevens spent five years copying over three hundred Old Master paintings at the National Gallery of Art. In 1982, he was invited to teach drawing and anatomy at his alma mater; in 1988, he began teaching drawing and portrait painting at Georgetown University as well. He remained a faculty member of both institutions until the year 2000. In his career of over twenty-five years, Stevens has forged a reputation as one of America’s leading realist painters. His style is contemporary realism––rooted in classical training, yet boldly expressing modernity through his use of paint and his penetrating eye. Stevens is unique among his contemporaries for his exceptional achievements in three domains of representational art: portraiture, landscapes and figurative urban landscapes. He frequently works on commission, and many of the commissioned paintings are on a grand scale for public and private spaces. Stevens has painted the portraits of luminaries and leaders in the fields of education, business, medicine, law, science, philanthropy and politics. His stellar list of patrons includes Governor Mark Warner of Virginia, Vernon E. Jordan, Jr., and the family of Senator John D. Rockefeller, IV. In January of 2007, the Smithsonian National Portrait Gallery acquired the portrait of Vernon E. Jordan, Jr. into their permanent collection. Stevens has reproduced historical portraits for the White House, U.S. Department of State, U.S. House of Representatives, U.S. Embassy in Paris, National Portrait Gallery and Monticello. In January 2002, the Smithsonian Institution commissioned him to reproduce Gilbert Stuart’s Lansdowne portrait of George Washington. The painting now hangs in Mount Vernon. In September 2006, Stevens completed a historical mural commemorating the Connecticut Compromise of 1787 for the U.S. Senate. The mural is installed in the Senate Reception Room, adjacent to the Senate Chambers in the U.S. Capitol. Stevens’ landscapes and figurative cityscapes are found in the collections of America’s preeminent corporations, associations and professional firms, including AARP, Cushman & Wakefield, FannieMae, Verizon, Wheat First Butcher & Singer and Wiley Rein & Fielding. He was honored by the National Parks Service for three consecutive years as one of the Top 100 Artists in the Arts for the Parks Competition. In 1999, he received the prestigious Steven L. Aschenbrenner Collector’s Award for his painting Approaching Rapids of the Grand Canyon.