Pauly Friedman and MacDonald Art Galleries
2017 - 2018 Calendar
All exhibitions and lectures are free and open to the public unless otherwise stated.
Galleries are closed for all university holidays including Spring and Fall Recess or cancellations due to weather. If traveling from a distance, please call or email to confirm the gallery will be open (570) 674-6250 or LLittle@misericordia.edu.
The gallery will be closed on March 30th and April 1st.
The Gallery is always free and open to the public. All ages welcome.
February 3 - **new closing date** March 25, 2018
Opening reception: Saturday, February 3, 5:00 pm - 7:00 pm
Canadian Masters of the Carmen and Sarah Latona Collection
Raynald Leclerc (b. 1961) - Port-au-Persil, Quebec, Oil on canvas, 20 x 24 in.
For a little over a decade, local fine art collectors Carmen and Sarah Latona have been acquiring Canadian Masters Art focusing on many of the most important Canadian painters of the last fifty years. Their deep admiration for the French-Canadian culture has flourished into an alluring and distinguished fine art collection.
About the collection by Carmen Latona:
This collection of Canadian Masters has grown out of our love for the French-Canadian culture--people, language, landscape, and art. Nearly twenty years ago, I visited Quebec for the first time. A family member told me that Quebec City was more beautiful than most small European cities and getting there wasn't nearly as stressful. Since then, my wife Sarah and I have visited Quebec City, Montreal, and Charlevoix, the mountainous region where the Saint Lawrence River begins to meet the ocean, as much as possible.
We bought our first French-Canadian painting in 2004 on l'Ile d'Orleans, an island full of artists, historic villages, cafes, space, and quiet. Shortly after they'd separated, the ex-wife of an artist was selling a portrait he'd done of her. That portrait hung unframed in our chalet the rest of the summer, the first painting we ever purchased together.
The same summer we met a collector/dealer at an outdoor show in Quebec City. He had just returned to Eastern Canada from Vancouver. His collection, voracity, and knowledge of art and the market awed us then and still does to this day. He's currently co-owner of one of Montreal's premier auction houses. He befriended us, opening Canadian art history to us firsthand, and amidst the beauty and excitement of the art and burgeoning friendship, we began to learn how to price and buy, and how the auction houses work in Quebec.
We spent the following summer with him and his family in their home along the Madawaska River. We enjoyed a nearby botanical garden and their canoe. His young daughter often took us to the ice cream shop. We spent our days cataloging art, archiving an artist's estate, cooking, and exploring. Our evenings became late-night discussions about artists--their work, their lives, and quirky stories about the ones our friend knew personally. We got to know nearly every painting in his gallery and home, ranging from antique artifacts, including a sarcophagus, to personal effects of artists, like the diaries of Gordon Kit Thorne. We had fallen in love with many of those works, and some of them are in our collection today.
Throughout the last twelve or so years, Sarah and I have studied Canadian Art, mainly the art of Quebec, as a regular part of our lives. Both high school teachers, we've tried to acquire a few paintings or drawings each year, focusing on important Canadian painters of the last fifty years.
We've worked in tandem on this collection. I've focused more on the market, working out deals, and tending to each piece when it arrives, framing and re-framing, arranging and rearranging. Sarah likes to tease me for my almost-nightly walks through each room, appreciating the pieces, moving them to different spots, pointing out what I hadn't noticed before.
Sarah's eye for certain artists, her advice, and her encouragement to focus our energy and resources in this direction have solidified our shared goal of building the best collection we can. Each piece is special to us, perhaps its history, our history with it, its beauty, the composition, a location we love, or a commission where the artist has rendered us in ways that only we know. But this collection isn't just about us. We hope it will grow to outlive us.
Horace Champagne (b. 1937) - Pastel on paper, 16 x 20 in.
April 7 - June 2, 2018
Whimsy & Wonder
The Pauly Friedman Art Gallery will host ‘Whimsy and Wonder’, an exhibit of work from the students at the Verve Vertu Art Studio, Dallas, from April 6 to June 2, 2018.
Join us on Friday, April 6 from 6:00 pm - 8:30 pm for a magical evening of artwork, film and music.
At 6:00 pm in the Lemmond Theatre, the movie "I'm An Artist" will be playing, followed by an art gallery reception and musical entertainment.
For more information about this event, please call Gwen Harleman, Director Verve Vertu at (570) 675-1465
This benefit is sponsored by the Misericorida Student Occupational Therapy Association.
Verve Vertu Art Studio, 24 Main St., Dallas, is an arts apprenticeship program for the Deutsch Institute, which provides recreational and leisurely activities to people with special needs. The studio enables the artists to tap into their creativity using a wide range of mediums, including watercolors, acrylics, fibers, batik, wool needle felting and inks.
June 16 - August 12, 2018
America’s Road: The Journey of Route 66
The Appeal of Route 66
Route 66 is emblematic of the American experience. Nearly every aspect of 20th century United States history is reflected in the story of the people and events along the Mother Road. Those who take the journey down Route 66 today can still explore the Main Street of America. Nearly a hundred years of highway culture can be found, whether a thriving relic or decaying ruin. Thousands of people from around the country and around the world drive all or portions of the Route each year. The highway stretches 2,448 miles and crosses through eight states, tracing the migration of people from the Midwest to the Pacific coast.
The Traveling Exhibit
An exhibit like America’s Road: The Journey of Route 66 brings this experience into the museum gallery where visitor can get a taste of our shared history. It showcases the stories of people, places, and events from 1926 until today. The topics are relevant to anyone who wants to learn more about our country and its history.
Themes that run through the exhibit include the history of Route 66, evolution of automobile travel, innovations, communities and populations, as well as accounts of travelers and more. The objective is to guide visitors to a greater understanding of Route 66 and its role in American history. The narrative travels from 1926 through the present day. Your visitors will experience the exhibit through themed displays, props, artifacts, and activities that are supported by interpretive text and graphics designed for a diverse audience.
Route 66 Lost & Found
America’s Road also features a photo essay created by photographer and author, Russell Olsen. Olsen researched and photographed 75 classic Route 66 service stations, motor courts, cafes, etc. and has compiled them into two volumes, from which images and text are used for the exhibit. The sites and structures are shown both as they appeared during the mid-20th century and as they appear today. The marvelous visual and descriptive elements comprise a unique, state-by-state look back at America’s Main Street.
Visitors to America’s Road have the opportunity to interact with the exhibit and each other in several ways:
© 2013, 2014 NRG! Exhibits • All rights reserved
September 11 - December 2, 2018
Contemplating Character: Portrait Drawings & Oil Sketches from Jacques-Louis David to Lucien Freud
The exhibition explores the evolution of portraiture from the end of the 18th century until the present. In contrast to portraiture as the tired flattery of the rich and powerful at the end of the eighteenth century, the invigorating new movements of Neoclassicism, Romanticism and Realism that took hold of art at the end of the eighteenth century and into the nineteenth century were the result of a desire for a sense of "unvarnished truth," and a more honest and gritty incisiveness of depiction emerged. By the twentieth century, the hallmark of the portrait was individuality; the sense of “personality” was primary, whether stylistically Post-Impressionist, Expressionist, Surrealist, or Realist.
One of the primary drivers of this evolution was the invention of photography at the end of the 1830s; it freed creative artists from the necessity of providing mere likeness through their art, to the degree that Paul Delaroche said, “From today, painting is dead.” He was wrong, of course—the competition of photography simply freed artists from the chore of representation, allowing imagination to rule. It this evolution that CONTEMPLATING CHARACTER clearly demonstrates with stunning examples.
152 rare portrait drawings and oil sketches are featured, ranging from a late 18th century work by Jacques Louis David to four works by Lucian Freud, and including many remarkable works such as a French Revolution portrait of George Washington all of one half inch high; an unusual caricature of Charles Garnier (1825-1898,) the famed architect of the Paris Opera; an English portrait miniature circa 1810 depicting a single eye; a self-portrait reflected in a glass, part of a still life by Auguste-Hilaire Leveille; and a self-portrait by Louis-Joseph-Cesar Ducomet (French 1806-1856,) an artist born without arms!Additionally the collection shows remarkable strength in self-portraits, irreverently including such works as Alfred Hitchcock’s famous profile seen by millions at the introduction to the television series “Alfred Hitchcock Presents" (1955—1962) and Aubrey Beardsley’s decadent India ink portrait of Oscar Wilde.
The works are drawn from the collection of esteemed curator, Robert Flynn Johnson, Curator Emeritus, Achenbach Foundation for Graphic Arts, Fine arts Museums of San Francisco.