Oil On Canvas
Middle May
Jacobshagen is an alumnus of Kansas City Art Institute and former illustrator for Hallmark cards. He is an esteemed member of the Art and Art History Department at the University of Nebraska where he received the Outstanding Research and Creativity Award. His paintings have been included in more than 50 group exhibitions in Spain, West Germany and the United States. Galleries in the heartland, east coast and west coast represent Jacobshagen. Jacobshagen succeeds in honoring traditional landscape painting while simultaneously infusing contemporary concepts into his work. Middle May typifies the immense sky paintings for which he?s become so well-known. The modern notion of exploring one?s memories, emotions and relationships separates his style of painting from traditional landscape painting. Middle May demonstrates how Jacobshagen?s paintings can elicit a host of emotions ranging from the romantic to the nostalgic.
Check, Czeck, Red Roses, Red Pitcher
The cofounder of the Kansas City Artists Coalition and former art editor of Helcion Nine, Bennett has played an active role in the Kansas City art scene for nearly four decades. She has been a visiting and adjunct professor at Kansas City Art Institute and lectured at museums and art departments at college campuses around the country for many years. A graduate of the University of Nebraska and recipient of its Achievement Award for the class of 1956, Bennett continues her reputation as a prolific artist and advocate for the arts in Kansas City. Her work is included in the collections of The National Museum of Women in the Arts in Washington, D.C. and the Nelson-Atkins Museum of Art in Kansas City, Missouri. Prominent corporate collections such as Hallmark, Incorporated and Prudential Life Insurance also include her work in their prestigious collections.
Pie Hole
Single
Born in Sedalia, Missouri, Patten was an only child whose parents divorced when she was very young. She grew up close to her grandfather, Marion Hall, who sparked her early love of horses. In 1965 she graduated with a B.A. in German from the University of Kansas. Later, when one of her favorite horses was accidentally electrocuted, she suffered a bout with mental illness. In a television interview nearly twenty years later, Patten recalled with certainty that it was this ?sick and pitiful? period in her life which led to her discovering she really wanted to be an artist. She acted on this realization and received her B.F.A. from the Kansas City Art Institute in 1979. The unique and rather eccentric style of art that Patten brought to her work had no precedent in the Kansas City area. Her tendency to overload canvases with layer upon layer of oil paint with a palette knife gave her works a dramatic and emotional quality. Patten preferred working with canvases of up to nine feet or more in size. Patten?s independent vision resulted in wide recognition in her short sixteen years as an artist. In 1988 she won the John Simon Guggenheim Fellowship with just a few slides and a one-page resume. Her work was featured in Art in America in June of 1995. Patten was 52 when she died in December 1995, a few short months after receiving the news she had liver cancer.
Concurrence
Born in Sedalia, Missouri, Patten was an only child whose parents divorced when she was very young. She grew up close to her grandfather, Marion Hall, who sparked her early love of horses. In 1965 she graduated with a B.A. in German from the University of Kansas. Later, when one of her favorite horses was accidentally electrocuted, she suffered a bout with mental illness. In a television interview nearly twenty years later, Patten recalled with certainty that it was this ?sick and pitiful? period in her life which led to her discovering she really wanted to be an artist. She acted on this realization and received her B.F.A. from the Kansas City Art Institute in 1979. The unique and rather eccentric style of art that Patten brought to her work had no precedent in the Kansas City area. Her tendency to overload canvases with layer upon layer of oil paint with a palette knife gave her works a dramatic and emotional quality. Patten preferred working with canvases of up to nine feet or more in size. Patten?s independent vision resulted in wide recognition in her short sixteen years as an artist. In 1988 she won the John Simon Guggenheim Fellowship with just a few slides and a one-page resume. Her work was featured in Art in America in June of 1995. Patten was 52 when she died in December 1995, a few short months after receiving the news she had liver cancer.
Honesty
Born in Sedalia, Missouri, Patten was an only child whose parents divorced when she was very young. She grew up close to her grandfather, Marion Hall, who sparked her early love of horses. In 1965 she graduated with a B.A. in German from the University of Kansas. Later, when one of her favorite horses was accidentally electrocuted, she suffered a bout with mental illness. In a television interview nearly twenty years later, Patten recalled with certainty that it was this ?sick and pitiful? period in her life which led to her discovering she really wanted to be an artist. She acted on this realization and received her B.F.A. from the Kansas City Art Institute in 1979. The unique and rather eccentric style of art that Patten brought to her work had no precedent in the Kansas City area. Her tendency to overload canvases with layer upon layer of oil paint with a palette knife gave her works a dramatic and emotional quality. Patten preferred working with canvases of up to nine feet or more in size. Patten?s independent vision resulted in wide recognition in her short sixteen years as an artist. In 1988 she won the John Simon Guggenheim Fellowship with just a few slides and a one-page resume. Her work was featured in Art in America in June of 1995. Patten was 52 when she died in December 1995, a few short months after receiving the news she had liver cancer.
Refound
Born in Sedalia, Missouri, Patten was an only child whose parents divorced when she was very young. She grew up close to her grandfather, Marion Hall, who sparked her early love of horses. In 1965 she graduated with a B.A. in German from the University of Kansas. Later, when one of her favorite horses was accidentally electrocuted, she suffered a bout with mental illness. In a television interview nearly twenty years later, Patten recalled with certainty that it was this ?sick and pitiful? period in her life which led to her discovering she really wanted to be an artist. She acted on this realization and received her B.F.A. from the Kansas City Art Institute in 1979. The unique and rather eccentric style of art that Patten brought to her work had no precedent in the Kansas City area. Her tendency to overload canvases with layer upon layer of oil paint with a palette knife gave her works a dramatic and emotional quality. Patten preferred working with canvases of up to nine feet or more in size. Patten?s independent vision resulted in wide recognition in her short sixteen years as an artist. In 1988 she won the John Simon Guggenheim Fellowship with just a few slides and a one-page resume. Her work was featured in Art in America in June of 1995. Patten was 52 when she died in December 1995, a few short months after receiving the news she had liver cancer.
Mars Black Horse
Andoe received his Bachelors of Fine Arts and Masters of Fine Arts degrees from the University of Oklahoma in Norman, Oklahoma. In 1993 he became an Honorary Chair of the College of Fine Arts at the University of Oklahoma. This award is among the many accomplishments achieved by this Oklahoma native. Andoe has exhibited in solo and group shows in museums and galleries across the United States and in Canada, Italy, and Finland. His works are represented in the permanent collections of the Metropolitan Museum of Art in New York, the Saint Louis Art Museum in Missouri, the Sheldon Memorial Art Gallery in Lincoln, Nebraska, and the Detroit Institute of Art in Michigan. Andoe has mastered a reductive painting technique that does not require brushes. He selects unprimed canvases that he coats with white gesso before covering entirely with thick oil paint. He incises the outline of the form of his subject with precision while the paint is still wet. Next, he wipes most of the paint off. This allows the image to slowly appear as the coarse weave of the canvas beneath is revealed. Using his fingertips to rub paint back onto the surface of the canvas and then wiping some of it back off again makes his unique works extremely tactile. Andoe, alone, uses this method of painting.