NEW PAINTINGS BY BRADLEY STEVENS
Show Dates: December 7, 2018 – February 2, 2019
1429 Iris St. NW, Washington, DC 20012
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
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.
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
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.
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
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
