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SUNDAY, APRIL 10, 2022 Long Island female artists on the landscape of inspiration By Deidre S. Greben Special to Newsday U pdated April 10, 2022 ​ More than 50 years after art historian Linda Nochlin famously inquired in her ARTnews magazine article “Why have there been no great women artists?,” the Long Island Museum is offering up its own examination of the question. Drawing from its coffers, nearby institutions and private collections, “Two Centuries of Long Island Women Artists, 1800-2000,” on view through Sept. 4, renders a fuller picture of local talent and the impact Long Island women painters and sculptors have had on the art-historical canon. In early 19th-century America “there were not very many female artists, but not many male artists either,” explained the museum’s deputy director, Joshua Ruff. “The art world was itself being formed.” Still, newly founded schools, such as New York City’s National Academy of Design and the Art Students League, limited the participation of female students, whose creative expression had largely been confined to embroidery and watercolors. In contrast, women were more welcomed at art establishments across Long Island, such as William Merritt Chase’s Summer School in Shinnecock Hills, that emerged with the popularity of American Impressionism and the practice of painting out-of-doors. ​ The appeal of the bucolic Long Island landscape did not diminish with the onslaught of Modernism at the turn of the 20th century, serving artists as both a respite and as a source of inspiration. “When I’m out on Long Island, I’d have to wear a blindfold to avoid the landscape. It’s the very air one breathes,” reads a quote by Jane Freilicher on one of the show’s wall panels. While the New York School artist gained a following with her distinctive painterly realism, other modernists made their mark on different regions of Long Island—Helen Torr and her semiabstract canvases on the North Shore township of Huntington, for instance, or Grace Hartigan, Lee Krasner and Elaine de Kooning, all of whom helped to establish the East End as a hotbed of Abstract Expressionism. ​ Along the way and since then, there have been countless others. The exhibition’s roster of more than 70 artists includes both the less familiar, such as Edith Mitchill Prellwitz (whose great-great-granddaughter Wendy’s work is also in the exhibition), and higher-profile names like photorealist pioneer Audrey Flack, the first woman to appear in “Janson’s History of Art,” the classic survey of the Western tradition now in its eighth edition. Admittedly, there are many omissions. “Of course, it’s meant to be a starting — not an ending — point,” noted Nina Sangimino, who organized the groundbreaking show with Ruff and LIM curator Jonathan Olly. Here, Newsday invited some of the featured artists to look back and forward to consider their place in and affinity with the litany of women who have adopted Long Island as a subject and setting for their artistic endeavors. Each artist talks about another in the exhibit whose work has been inspirational. ​ ​ CORNELIA FOSS (born 1931) and ELAINE DE KOONING (1918-1989) ​ “An odd thing happened in the so-called Hamptons around the ’60s. Women painters had suddenly emerged and were being shown in the galleries in Southampton, Bridgehampton and East Hampton. These paintings were not the pretty ladies’ paintings of posies and such, but strong, interesting and vibrant paintings — some landscapes and some abstract visions. They said, ‘We’re here!’ They could not be ignored. Some were very good painters, some were more than that — they were great. ​ “I love the strength of the black lines in Elaine de Kooning’s ‘Standing Bison, Cave #92,’ 1986. They melt magically with the busy surroundings, and they are beautifully drawn. Sometimes one isn’t quite sure if it’s describing the outlines of a shape or the inside of another object — a wonderful ‘now you see it, now you don’t’ effect. However, one is aware that she is in control all the time. Nothing is haphazard. "I think — I can only speak for myself here — that’s where inspiration comes in. There are times when my hand seems to know what to do before I do. It’s a wonderful feeling and I’m very grateful when it happens.” ​ WHAT “Two Centuries of Long Island Women Artists, 1800-2000” ​ WHEN | WHERE Through Sept. 4, Long Island Museum, 1200 North Country Rd., Stony Brook ​ INFO longislandmuseum.org , 631-751-0066 Press ​ Jill Krementz Covers Cornelia Foss Show at Raphael Gallery in New York, March 27, 2018 here Courtesy: New York Social Diary ​ ​ Critical Appraisal: Recent "At The Galleries" Review by Karen Wilkin, The Hudson Review The Hudson Review A MAGAZINE OF LITERATURE AND THE ARTS “It is one of the best quarterlies in the country, and one of the last venues where literature is written about knowledgeably and seriously.” — The New York Sun ​ WINTER 2024 ARTS REVIEW ​ by Karen Wilkin ​ Cornelia Foss’s exhibition, as a Century Master, at The Century Associ ation, offered another approach to landscape, no less concentrated but different in mood than that of “Vertigo of Color,” [“Vertigo of Color: Matisse, Derain, and the Origins of Fauvism,” at the Metropolitan Museum of Art] along with some vigorous still lifes. The recent paintings on view were proof that at 92, Foss is making some of the strongest, most uninhibited works of her long career. Was it the proverbial freedom of long-lived artists, born of experience and indifference to the opinion of others that art historians call “late style,” or was it simply an inevitable progression? However we chose to categorize them, the works in the exhibition were consistently powerful. Foss’s luminous beachside views have long been a known quantity, but the show was full of the unexpected. A pitcher of flowers in a memorable still-life threatened to dissolve into an explosion of blue and yellow. The burning of Notre Dame became an urgently stroked mass of hot yellow-orange, partly veiled by jagged silhouettes. A large confrontational, rather dark painting alluding to the Holocaust slowly revealed mysterious figures and flushes of deep color. And another large canvas, a loosely knit fabric of broadly brushed greens, with an occasional flash of red, turned out to have something to do with the story of Little Red Riding Hood, although those slashing, pulsing strokes of green required no justification. The energy and experimentation of the works at The Century Association made me look forward more than ever to Foss’s next show. KAREN WILKIN teaches in the Master of Fine Arts program of the New York Studio School. She is the Contributing Editor for Art for the Hudson Review and a regular contributor to The New Criterion, Art in America, The Hopkins Review, and the Wall Street Journal. She was honored by the Artists Equity Association in December 2023. "Foss obviously knows whereof she paints - there is a complicity of the eye and hand that renders the scene perfectly recognizable yet autobiographically personal." - Gerrit Henry, Art in America * * * "Graceful, mature...paintings full of light and a subtle geometry" - Michael Kimmelman, The New York Times, "Cornelia Foss: New Paintings", May 27th, 2005 * * * "There’s something calm about her painting, something uplifting and non-threatening that permeates the image." - Michael Kimmelman, Dan's Paper, "Honoring the Artist: Cornelia Foss", June 3rd, 2005 *** Press - 2015: Cornelia Foss: A Glimpse, an Idea, and ‘Suddenly a Painting’ “Painting is what makes life worthwhile,” By Jennifer Landes | November 5, 2015 full article LINEA: The Studio Project | Cornelia Foss Review of Foss' 2013 solo exhibition at Peter Marcelle Gallery July 3, 2013 by MIke Solomon Cornelia Foss: New Paintings Art Review: Cornelia Foss Starts in the Heart There are some painters who just seem to have a certain grace. I have known Cornelia Foss's work for probably 30 years and I have always been taken with it. Is it purely a matter of subjectivity? In her current exhibition at the Peter Marcelle Gallery, as before, it's evident that there's nothing particularly radical or groundbreaking about the genre she works in. Landscapes, still lifes, garden scenes, seascapes and sometimes images of people, it's all the stuff of contemporary impressionism, cleaving to the Hamptons vein that started with William Merritt Chase and Thomas Moran then went to Fairfield Porter, and out through Jane Wilson and Jane Freilicher to what must be hundreds of artists who work in this genre now. For me, Cornelia Foss has always been special and, after spending some time at the new show, I think I can say I finally know why. It starts in the heart. She has some kind of tremendous faith in her work, or about herself, because whatever that spirit is, it travels in her veins out to her hands, hands that apply the brushstrokes to her paintings, and something is translated, something happy and peaceful that conveys understanding. To quote Elvis Costello, "What's so funny about peace, love and understanding?" This is what you get when you view her work: a sense of comprehension, wonderment and contentment that comes from her resolved sense of self. It's there in the paintings. "Garden Flowers" by Cornelia Foss, 2012. Oil on canvas, 48 x 48 inches. Photo courtesy of Christopher Foss. In her garden paintings, like Garden Flowers, 2012, or Garden Flowers III, 2010, the intimate and complex combine to give us all the pleasure we need from painting. Riotous color, in the form and shape of densely planted flowers and shrubs, is manifested by the loose rendering and confident brushstrokes. This isn't representational dentistry either, tight and cruel like a vise. No, this is heart joy, open, energized attraction, affirmation and affinity for the world.Yet there is precision in the paintings. The measurement of tones and patterns among the flowers and leaves are not distracted approximations but rather are carefully and attentively observed. Once understood, the artist lets the joy of that comprehension flow out in energized brushstrokes mapped from the universe of colors she has deciphered. In a sense, especially in the garden paintings for which she is best known, Foss is the representational twin of Joan Mitchell, as both artists achieve the same result; they get an energy from color and its application and, within their respective formats, give it back to the viewer as pure unconditional pleasure. Another side to Foss's work shows up in the landscapes and seascapes. I was quite taken by the two small watercolors of waves breaking on the shore in part because they are so simply and elegantly rendered. I mean, how many wave scenes have been depicted by artists here on the East End? It must be in the thousands, yet for me, only few have a validity that equals the actual scene from which they are derived. Waves are beautiful and so it's natural to want to "own" that beauty by painting it, but all too often what is painted falls flat. There are countless paintings done from photographs of waves that are perfectly rendered but lack the kind of energy plein air painting achieves by depicting not only what the artist saw but also what she or he felt when surrounded by the natural world. This kind of translation of experience is important. It's not that easy to paint a convincing, much less interesting, wave scape. Foss seems not only to have managed the challenge quite easily but also has rendered charming views of waves standing up in the sun and breaking in our faces like some kind of happy greeting ritual. "Surf" by Cornelia Foss, 2008. Oil on canvas, 47 x 47 inches. Photo courtesy of Christopher Foss. The oil painting Surf, 2008 also has an energy that makes it work and there's something about the darker and ominous, slightly surging horizon that gives the scene some gravitas. I think when one is dealing with a beautiful scene, it's good to include the dialectic. In depicting the beauty of the sea, it's right to remember its danger too (think of Sandy). So the hints at darkness lurking in the benign scene Foss give us create a necessary balance and make the painting more interesting. "February Window VII" by Cornelia Foss, 2013. Oil on canvas, 65 x 60 inches. Photo courtesy of Christopher Foss. Really interesting to me is the large interior, February Window VII, 2013, the newest painting in the show. It has a marvelously mysterious setting. Two black and white cats sit by a window that looks out into the urban twilight. Reflections and shadows play tricks and so the spaces and objects of the foreground seem only to float and reflect in the glass. On the upper left, architectural features protrude from the wall and an elegantly painted oil lamp glows below, reiterating the floating reflections in the rest of the painting. Out through the window, a bridge is seen in the distance with a strip of light hitting it. All these elements seem to acknowledge Matisse's deconstructive period, particularly paintings like The Piano Lesson, and in his various versions of the Bridge at Notre Dame. This window painting is a surprise because while it contains Foss's sure hand, elegant color, generous rendering and the exploration of complexity and intimacy, it is with an entirely different set of elements from her garden paintings. I hope we get to see more of these intriguing new works. Be sure to hurry in to see this wonderful show at Peter Marcelle because it's only up through July 9, 2013. “Cornelia Foss: New Paintings” - on view through July 9, The Peter Marcelle Gallery. * * * Honoring the Artist: Cornelia Foss (From Dan's Papers ) By MICHAEL KIMMELMAN June 3, 2005 “What goes around comes around,” the old saying goes, and somehow we think it fits Cornelia Foss’ latest New York exhibit: arresting images of the four seasons. “I was not conscious of what I was doing,” Ms. Foss notes, “but this show, more than any others I have done, reflects my experiences during the past year.” An example from the current exhibit at Manhattan’s DFN Gallery graces this week’s cover, called “Stormy Weather.” It’s not the picture one perceives of East Coast climate, however: waves crashing, a dark and dank atmosphere. Ms. Foss gives us comfort with her view of inclement weather; there’s something calm about her painting, something uplifting and non-threatening that permeates the image. “What goes around comes around” also applies as we experience Ms. Foss’ spring and summer images as well, their colors idealized yet realistic, her settings both ones that exist and ones that will come to exist. The same saying rings true regarding Ms. Foss’ personal life. While she talks with sadness about the friends she has lost, you know that Ms. Foss’ optimistic demeanor will return, like the swallows to Capistrano. We have a sense that whatever small or large event may occur during a given period, it will be deeply felt by Ms. Foss. Yet she seems to have an intuitive sense of life’s ebbs and flows, responding accordingly. Such response is not simply apparent in Ms. Foss’ overt behavior, but also in her aesthetic process. Consider the fact that she may paint beautiful summer scenes in the midst of a dreary New York winter, where her only view looks out onto a messy and wet Broadway. Ebbs and flows persist in her subjects, too: often intimate, at times distanced. There are aspects of Ms. Foss’ life, however, that remain constant and do not change with the tide’s ebbs and flows or the principle of going around and returning. Those elements reflect what she likes and dislikes about people. Ms. Foss doesn’t hesitate when being specific: “I like individuals with a sense of humor, ability to have fun, who are generous, and above all, have a lively interest in all kinds of things.” And what about feelings about her own life? Do they remain constant as well? You bet. “Mostly my life has been lucky,” Ms. Foss comments with fervor. “There’s nothing sadder than to do something you don’t want to do or not knowing how to go about getting what you want.” June, 2000 by Gerrit Henry NEW YORK Cornelia Foss is part of a loosely knit group of artists commonly described as "painterly realists," many of whom are associated with Long Island's scenic Hamptons region. Others include, preeminently, Jane Freilicher, Robert Dash and the late Fairfield Porter. They take Bonnard as a guiding spirit, and their style has, in essence, evolved out of Action Painting, although the painterly realist stroke is not quite as free and easy, being object-bound. A good part of Foss's achievement over the years is to have developed a painterly realist style she can call her own. With this latest show, the influence of Jane Freilicher, for instance, has been pretty much left behind. Foss brings her touch and glance to the Hamptons' waterways, both fresh and oceanic. A body of water perfectly suited to her vigorously delicious style is Wainscott Pond. There were at least five Wainscott images in the show, all clouds and sun and grasses, almost merry in their brushy shorthand. My favorite was Wainscott Pond Fog, epic at 70 by 66 inches. Foss approaches the pond and sky with a reverence that is equal parts familiarity. A gray day is brought to high tones by the artist, without much color and seemingly without much effort. More fog--and outspoken beauty--are to be had in Barcelona Point and Fog, a rendering of the tip of an islet in mist that is a dull aqua. Foss here presents us with a summa of the painterly realist effort in her gentle abstracting of landscape form and color that goes for the soul. Foss obviously knows whereof she paints--there is a complicity of eye and hand that renders the scene perfectly recognizable yet also autographically personal. In the sure-footed lyricism of Foss's forms and figures are metaphors for the act of painting itself. At 72 by 66 inches, Lukas and Augie is like an occasional poem worked into a paean. Foss's husband and dog stand on a grassy field, Lukas's arms at his hips, the dog at his sunniest. Something about the light, the air, the weather--all crisply, peculiarly Hamptons-like--is shared with us. Foss gets it exactly right, on her own terms. Dan's Papers (Cover) SUMMER 2008 ​ Art in America JANUARY, 2008 The Art Scene By ELIZABETH FASOLINO May 10, 2007 The landscapes of Cornelia Foss, a Bridgehampton painter, captures the quiet coastal fields, beaches, and light of the East End of Long Island. As the late poet and critic Gerrit Henry wrote in Art in America, "Foss obviously knows whereof she paints - there is a complicity of the eye and hand that renders the scene perfectly recognizable yet autobiographically personal." Her simple and evocative paintings are on view at the DFN Gallery in New York City. The gallery will host a reception for the artist tonight from 6 to 8 p.m. The show is on view through June 9. An Enthusiasm for the Observed By JOHN GOODRICH May 17, 2007 Given Milton Avery's fondness for broad arabesques and liberated colors, it's no surprise that he felt completely at home with the medium of watercolor. Starting in his 40s, Avery (1885–1965) turned regularly to the medium when his oils were unavailable or inconvenient, and in his later years often combined it with opaque media such as crayon and pastel. Knoedler's selection, limited to the artist's pure watercolors, spans four decades with more than 30 works. These include many from the private collection of the artist's family that have never before been exhibited. The watercolors' subjects are the still lifes, interiors, and landscapes familiar from his oil paintings, and they reflect the same trend toward increasing abstraction. With its elementary composition of gamboling shapes and colors, "Little House by Purple Sea" (1958), produced when the artist was in his 70s, is classic Avery. At once fanciful and resolute, it locates the essential aspects of a scene — a house perched on a shore, spreading water, a crowding background — with an elementary scheme of purples, blues, and greens. With the even more reductive "Edge of the Lake" (1953), Avery shows off more of watercolor's unique qualities with blended, layered, and dry-brushed strokes that build as bands of water, trees, and sky. Some of the later watercolors, animated by scratchy textures rather than a counterpoint of tones, seem more tentative in design, but even these resonate with the artist's appealing blend of obtuseness and grace. Most surprising are works from the '30s. The very earliest cityscapes, naturalistic in color and modeling, appear to predate the artist's conversion to Modernism. But by the time Avery produced the striking "Drawbridge" (c. 1930s), he had begun to simplify and flatten, while still observing dramas of tone and texture; its fluid mixing of light and dark blue-greens wonderfully evoke overcast sky and reflecting water. The artist, moreover, exploits the tensions of shapes, conveying the drop from the parting black ramps of the bridge to the paper-white of a tugboat far below. Another remarkable work from this period, "On the Boardwalk" (c. 1930), orchestrates a crowd scene with humorous verve. A large umbrella shelters a foreground couple from bits of humanity all around: at left, the lumpy curls of a sunbather, viewed through a railing; at right, a high-heeled foot, the vestige of a pedestrian striding off the paper; above, in a sea of faces, the startling aspect of a man staring at us, his tiny bow-tie echoing the umbrella's great sweep. In terms of wash technique, this watercolor is unambitious, even clumsy, but as a composition it brims with energy and insights. Cornelia Foss's landscapes, too, radiate an enthusiasm for the observed. While Avery restlessly plies the territory between nature and abstraction, Ms. Foss sides conspicuously with nature, evoking the particularities of light in large landscapes of seashores and fields. With rapid but controlled brushstrokes, Ms. Foss delineates rounding dunes or a wave's diagonal beneath a vast sky. In "Gray Day" (2007), the artist's sure grasp of color shows in the subtle beige of the beach, which, infinitesimally varied in warmer and cooler tones, neatly captures the effect of lightabsorbent sand on an overcast day. A handful of quick marks of midtoned blue perfectly describes a wave's white foam, shadowed by its own crest. As in most of these landscapes, however, the sky is the most substantial of all, with subtle but decisive shifts of colors imparting a complex depth. Among a number of smaller landscapes, portraits, and flower paintings in the gallery's smaller room, "Tulips" (2007) stands out for its fiery reds and brilliant pinks. Where these vivacious petals turn toward shadow, colors poignantly express their constrained glow. Though working far more naturalistically than Avery, Ms. Foss doesn't always lend as much pictorial gravity to her forms. The twisting diagonal of a seashore, and even the horizon itself, sometimes seem to be swept up in the overall bowl of space rather than measuring out its dimensions. A canvas such as "Gulls" (2007), however, beautifully establishes the proximate and the distant, the large and the small. Here, a plane of silvery water slips beneath the thick luminosity of sky, while slivers of deep blue and light beige hold the horizon. In front rises a flutter of small, varied darks — a flock of birds. Against the fullness of air and of water, their dense notes powerfully elicit the abundance of nature. Avery until August 10 (19 E. 70th St., between Fifth and Madison avenues, 212-794-0550); Foss until June 9 (210 Eleventh Ave., between 24th and 25th streets, 212-334-3400). Cornelia Foss: New Paintings May 17 - June 18, 2005 Cornelia Foss (From The New York Times) By MICHAEL KIMMELMAN May 27, 2005 Graceful, mature, modest paintings full of light and a subtle geometry, Cornelia Foss's views of the beaches and salt marshes on Long Island and of Central Park convey a quiet awe for the beauty of nature and for paint's mellifluous ability to embody it. Whether it's a vista through flowering bushes and beneath heaving branches across a summer meadow; or the dark blue sky pressing down on a flat field, with a turquoise pond, like a gem, sparkling in the middle distance; or the glow of the sun against snow, silhouetting a pine whose shadow frames and balances a barren tree in the foreground - the mood is calm, bright and alert. Ms. Foss's touch is best when at its loosest, almost as if offhand, as in a couple of small portraits of children and in bigger pictures like "Spring Ride" and "Birds of Winter II," a tall panel of complex angles wherein a small flock of birds silently pecks at a pillow of white beneath a sheltering pine. From the Very Beginning, No Choice about Career (From South Hampton Press) By JULIA DOUGLAS August 11, 2005 Cornelia Foss...has been painting for more than 50 years and...has had close to 150 solo and group exhibitions throughout the United States as well as abroad. When Ms. Foss was in her teens, her father was awarded a Prix de Rome by the American Academy in Rome; there she studied under the sculptor Mirko, receiving the First International Prize for sculpture at age 17. As a young woman, she married Lukas Foss, moving with him to the coast when he was named professor of composition and conductor at the University of California at Los Angeles. While in L.A., Ms. Foss attended the Kann Art Institute and made the switch from sculpting to painting. She explains, "I was struggling a bit and at one point knocked off the nose of a figure I was working on. It seemed to me that the people who were painting were having more fun." Her first solo show of paintings at the age of 20 was in Los Angeles. Ms. Foss is known for seascape and landscape oils featuring huge skies, "the result of personal feelings and a tradition long-established by Fairfield Porter and Jane Freilicher," she says. "When you are out here, your first sensation is of the beauty of the vast sky and the smaller landscape in comparison." Karen Wilkin, the critic and curator who authored the catalogue for Ms. Foss's recent show, wrote that "the surfaces of the paintings are cool, her touch, elegant, but at the same time, they are powerfully evocative of leaves, stone, sand, sky, and water." Recalling her first encounter with Ms. Foss's paintings, Ms. Wilkin wrote: "I immediately felt great pleasure to be so taken with her work and convinced by its strength and sensitivity." Like many artists, including Degas, Ms. Foss also paints from photographs, especially for commissioned portraits. She explains that painting from a photograph is not better or worse than painting from real life. "It just produces a different kind of reality." She continues, "All painting is a form of abstraction since what we paint is not a real thing. Painting from a photograph is in a sense creating an abstraction from an abstraction." Ms. Foss admires Vuillard, Picasso, Sargent and Whistler. Years before Lucien Freud was recognized, she identified him as a mentor. As she says, "An artist like Freud influences you by giving ideas and showing a certain way of handling something which is new to you." The Fosses have created an oasis far removed from the hectic pace of "the Hamptons." At the time of the interview, Ms. Foss was looking forward to the rest of the summer, although she anticipated it would not be totally serene: as she pointed out, "I am already three portraits behind." Foss Dan's Papers SEPTEMBER 2005 Art in America JUNE 2000

Century Masters Exhibition Cornelia Foss September-November, 2023 VIEW ALL EXHIBITION PAINTINGS HERE KAREN WILKIN ON CORNELIA FOSS THE HUDSON REVIEW WINTER 2024 ISSUE HERE Winter Storm on 95th Street 2021 Oil-on-canvas, 12 x 12 in. Ocean Beach. 2014 Oil-on-canvas, 50 x 50 in. Kohko. 2016 Oil on canvas, 30 x 24 in. ​ Blaine. 2016 Oil on canvas, 16 x 16 in. ​ Little Red II. 2016 Oil on canvas. 7.5 x 7.5 ft. Cornelia Foss Portraits Portraits page HERE ​ Portrait Commissions Inquiries HERE Little Red VII. 2016 Oil on canvas. 7.5 x 7.5 ft. Statue. 2016 Oil on canvas. 7.5 x 7.5 ft. Twighlight, Sag Pond. 2015 Oil on canvas. 5 x 6 ft. CLICK HERE TO ORDER on Amazon.com From Skira Rizzoli ... Cornelia Foss is part of a loosely knit group of American artists often described as “painterly realists," a number of whom, such as Eric Fischl and Fairfield Porter and Foss, were captivated by the "Hampton light" of Long Island’s East End. This volume, representing a major survey of Foss's work, includes landscapes, beach scenes, gardens, still-lifes, as well as portraits of writers, composers, fellow artists, family members and friends. Foss' astonishing and masterly painting style is shown at its best here. Her art combines a keen eye for the reality of the scene "as it is" with a direct intimacy, and melds bold brushstroke with nuanced attention to detail. This handsomely designed volume, including over two-hundred excellent photographs of Foss paintings, also offers insightful essays by poet and critic, J.D. McClatchy, playwright John Guare, and curator-art critic Karen Wilkin - as well as a foreword by the artist. Foss, whose work Michael Kimmelman of The New York Times described as "graceful and mature...full of light and a subtle geometry," is beautifully and fully represented among these pages. - Front Jacket Cover

New Work

Exhibition History Selected Solo Exhibitions ​ 2015 Museum at Guild Hall, Easthampton, NY Peter Marcelle Gallery, Southampton, NY 2014 Peter Marcelle Gallery, Southampton, NY 2013 Peter Marcelle Gallery, Bridgehampton, NY 2012 Long Island Museum, Stonybrook, NY Peter Marcelle Gallery, Bridgehampton, NY 2011 Green and Blue Gallery, Vermont 2009 DFN Gallery, New York, NY 2007 DFN Gallery, New York, NY 2005 DFN Gallery, New York, NY 2003 DFN Gallery, New York, NY Clark Gallery, Southampton, NY Horizon Gallery, Buffalo, NY Boston University, Boston, MA 2001 DFN Gallery, New York, NY 2000 Glenn Horowitz Booksellers, East Hampton, NY 1999 DFN Gallery, New York, NY 1998 Elizabeth Meyers Gallery, New York, NY 1997 Lizan Tops Gallery, East Hampton, NY 1996 Gallery Emanuel, Great Neck, NY Fotouhi/Cramer Gallery, New York, NY 1995 Renee Fotouhi Gallery, East Hampton, NY 1994 Denise Bibro Gallery, New York, NY St. Gaudens Museum, Cornish, NH Benton Gallery, Southampton, NY 1992 Benton Gallery, Southampton, NY Union League Club, New York, NY Steven Scott Gallery, Baltimore MD Gallery 454 North, Los Angeles, CA (also 1987) 1990 Benton Gallery, Southampton, NY Image Gallery, Stockbridge, MA Tatiana Eitle, Cyprus, Greece 1989 Ben Shahn Center for the Visual Arts, Wayne NJ 1988 Susan Schreiber Gallery, New York, NY 1986 Haggerty Museum of Art, Milwaukee, WI 1984 McLean Gallery, London, England Sutton Gallery, New York, NY 1983 Parsons Gallery, East Hampton, NY 1982 Loonam Gallery, Bridgehampton, NY David Barnett Gallery, Milwaukee, WI 1981 Berry-Hill Galleries, New York, NY 1972 Benson Gallery, Bridgehampton, NY 1967 James Goodman Gallery, Buffalo, NY 1961 Ferris Gallery, Los Angeles, CA 1959 Ferris Gallery, Los Angeles, CA Selected Group Exhibitions ​ 2017 March 9 - June 11, 2017. Academy of Arts and Letters In conjunction with receipt of 2017 Academy of Arts and Letters Award for Art ​ 2009 New Work by Gallery Artists, DFN Gallery, New York, NY 2008 Light of Spring, Spanierman Gallery, East Hampton, NY 2007 Wet, DFN Gallery, New York, NY New York at Night, DFN Gallery, New York, NY 2005 10th Anniversary Show, DFN Gallery, New York, NY The Little Continent of Long Island: Landscapes from the Permanent Collection, Long Island Museum, Stony Brook, NY DFN Gallery, New York, NY 2004 Watercolor, DFN Gallery, New York, NY Artists’ Gardens, Guild Hall, East Hampton, NY Skies & Scapes, Guild Hall, East Hampton, NY Addison Gallery of American Art, Andover, MA 2003 The Burbs, DFN Gallery, New York, NY Lizan Tops Gallery, East Hampton, NY 2002 DFN Gallery, “TriBeCa Works on Paper,” New York, NY 2001 Long Island Museum, Stony Brook, NY Elaine Benson Gallery, Bridgehampton, NY Lizan Tops Gallery, East Hampton, NY Art Students League, New York, NY 2000 DFN Gallery, New York, NY Cold Spring Harbor Gallery, Cold Spring Harbor, NY Summer Show, DFN Gallery, New York, NY Hecksher Museum, Huntington, NY 1999 Elaine Benson Gallery, Bridgehampton, NY MB Modern, New York, NY Moab Festival Gallery, Overlook Gallery, Moab, Utah Lizan Tops Gallery, East Hampton, NY Long Island Landscape Exhibit, The Mishkin Gallery Baruch College, New York, NY The Century Association, New York, NY The Art Students League, New York, NY 1998 Spanierman Gallery, New York, NY MB Modern, New York, NY The Century Association, New York, NY The Art Students League, New York, NY Gremillion Gallery, Houston, TX Elaine Benson Gallery, Bridgehampton, NY The National Museum for Women, Washington, D.C. 1997 Molly Barnes Gallery, Los Angeles, CA Lizan Tops Gallery, East Hampton, NY Elaine Benson Gallery, Bridgehampton, NY The Art Students League, New York, NY 1996 Juried Exhibition, The American Academy of Arts and Letters, New York, NY Elaine Benson Gallery, Bridgehampton, NY The Art Students League, New York, NY Metropolitan Pavilion, New York, NY Fotouhi/Cramer Gallery, East Hampton, NY Guild Hall, East Hampton, NYNY Hecksher Museum, Huntington, NY 1995 Arlene Bujese Gallery, East Hampton, NY Renee Fotouhi Gallery, East Hampton, NY Lizan Tops Gallery, East Hampton, NY The Art Students League, New York, NY Century Club, New York, NY 1994 Grey Art Gallery, New York, NY Arlene Bujese Gallery, East Hampton, NY The Art Students League, New York, NY 1993 Grey Art Gallery, New York, NY Steven Scott Gallery, Baltimore, MD Parrish Museum, Southampton, NY 1992 The Art Students League, New York, NY National Academy of Design, New York, NY Benton Gallery, Southampton, NY Delaware Art Museum, Wilmington, DE Elaine Benson Gallery, Bridgehampton, NY Baltimore Museum, Baltimore, MD 1991 Steven Scott Gallery, Baltimore, MD 1990 Gallery 454 North, Los Angeles, CA Amnesty International Invitational, New York, NY Parrish Museum (Juried Show), Southampton, NY Benton Gallery, Southampton, NY 1989 Vered Gallery, East Hampton, New York Benton Gallery, Southampton, NY Elaine Benson Gallery, Bridgehampton, NY 1988 Grunebaum Gallery, New York, NY Forum Gallery, New York, NY Elaine Benson Gallery, Bridgehampton, NY Grey Gallery, New York, NY Susan Schreiber Gallery, New York, NY Contemporary Nudes, One Penn Plaza, New York, NY 1986 Ann Plumb Gallery, New York, NY 1985 Art Views Gallery, East Hampton, NY Armstrong Gallery, New York, NY 1983 Art Latitude (Siegel) Gallery, New York, NY 1972 Benson Gallery, Bridgehampton, NY 1963 Indianapolis Museum, Indianapolis, IN 1961 Museum of Modern Art, New York, NY 1958 Archivo historico dell’arte contemporanea de la Biennale, Italy 1957 Santa Barbara Museum, Santa Barbara, CA 1953 Los Angeles County Museum of Art, Los Angeles, CA Public Collections Brooklyn Museum of Art, Brooklyn, NY Burchfield-Penney Art Center, University of New York, Buffalo, NY Cold Spring Harbor Laboratory, Cold Spring Harbor, NY Guild Hall, East Hampton, NY The Huntington Museum of Art, Huntington, NY Long Island Museum, Stony Brook, NY Memorial Sloan-Kettering Cancer Center, New York, NY Museum of Fine Arts, Houston, Houston, TX Museum of Modern Art, New York, NY National Museum for Women, Washington, DC Oklahoma City Art Museum, Oklahoma City, OK Smithsonian National Portrait Gallery, Washington, DC Wichita Art Museum, Wichita, KS Education University of Indiana Rome University, Rome, Italy Kann Art Institute, Los Angeles, CA Teaching 1993 - 2004Art Students League, New York, NY 1997 - PresentOriginated Lecture Series at Art Students League featuring painters, art historians, critics and poets discussing their work. Speakers have included Eric Fischl, Janet Fish, Larry Rivers, Philip Pearlstein, April Gornik, William Bailey, and David Rosand 2005 - PresentNational Academy of Design School, New York, NY Selected Bibliography 2009 John Guare, Catalogue Essay, DFN Gallery 2008 Jonathan Goodman, Art In America, January Marion Wolberg Weiss, Dan's Papers, August 8 Marion Wolberg Weiss, Dan's Papers, April 18 2007 John Dobkin, Catalogue Essay, DFN Gallery Rebecca Meade, "Revisiting The Prairie," The New Yorker, July 23 Elizabeth Fasolino, East Hampton Star, May 10 John Goodrich, NY Sun, "An Enthusiasm for the Observed," May 17 Anne Close (Ed.), Kenneth Koch, “On The Edge: Collected Long Poems,” Alfred A. Knopf, NY 2005 Karen Wilkin, Catalogue Essay, DFN Gallery, April Michael Kimmelman, The New York Times, May 27 Marion Wolberg Weiss, Dan’s Papers, June 3 & September 30 Julia Douglas, The Southampton Press, August 11 2004 John Esten, “Hamptons Gardens: A 350 Year Legacy,” Rizzoli Books, NY 2003 Sheridan Sansegundo, The East Hampton Star Rose Slivka, The East Hampton Star 2000 Karen Wilkin, Partisan Review, Winter 2000 Rose Slivka, The East Hampton Star Gherrit Henry, Art in America Hugh Hardy, Arches and Angels, Essay Elizabeth Hardwick, Arches and Angels, Essay 1999 Rose Slivka, The East Hampton Star, July 8th Moab Happenings, September 1998 Phyllis Braff, The New York Times, June Rose Slivka, The East Hampton Star, June 11 New Yorker, June 22nd and 29th Dan’s Papers, June 12th, cover Michael M. Thomas, Hamptons Country, July 1997 Marion Wolberg Weiss, Dan’s Papers, January 24th Dan’s Papers, May 30th, cover Sheridan Sansegundo, The East Hampton Star 1996 The Great Neck Record, March 14th Helen A. Harrison, The New York Times, June 23rd Rose Slivka, The East Hampton Star Sheridan Sansegundo, The East Hampton Star Barbara Novak, Brochure Essay, Fotouhi/Cramer Gallery Grace Glueck, The New York Times, July 12th Margaret Sheffield, Review, December 1st Grace Glueck, The New York Timeses, December 27th 1995 Rose Slivka, The East Hampton Star 1994 Rose Slivka, The East Hampton Star Phyllis Braff, The New York Times, November 20 Gherrit Henry, Brochure Essay, Denise Bibro Gallery 1993 Rose Slivka, The East Hampton Star Sheridan Sansegundo, The East Hampton Star Dan’s Papers, Bridgehampton, NY 1991 Sheridan Sansegundo, The East Hampton Star Gerrit Henry, Bochure Essay, The Union League Club and Steven Scott Gallery Dan’s Papers, Bridgehampton, NY 1989 John Zeaman, The Record Gerrit Henry, Art in America, June David Shapiro, Cover, February, Boulevard, Vol. 4, No. 1 John Zeaman, The New York Times 1987 L.A. Times Phyllis Braff, The New York Times, August 1986 Peter Vogt, Marquette Tribune, Weekend, April 1984 Gerrit Henry, Art in America Claire White, Art World Max Wykes-Joyce, Arts and Artists, England Palmer Poroner, Art Speak, Vol. V, No. 16, April 16 David Shapiro, Catalogue Essay, Marquette University Exhibition Eliza Reed, Arte/art, Vol. VIII, No. 6 1982 Dean Jensen, Milwaukee Sentinel, April 1981 John Russell, The New York Times, October 29 Lawrence Campbell, “Cornelia Foss at Berry-Hill,” Art in America

Cornelia Foss Recent & New Paintings ​ Curated by MM Fine Art/ NY March 22 - April 14, 2018 ​ ​ Selected Paintings from the Exhibition:

Portraits _DSC7117-2-4_edited 20161111-Capture0023-2-11 Blaine. 2016 Oil on canvas. 14 x 14 in. DSC5236-2-32-9 Sabina at the Ocean. 2012. Oil on canvas, 16 x 16 in. SabinaAtTheOcean-16x16-oil-2.JPG untitled-4438 DSC_6062 Lukas Foss ("Lukas") 2006. Oil on canvas, 16 x 16 in. Collection Christopher Foss DSC_0858.JPG Lukas. 2008. Oil on canvas 48 x 36 in. untitled-2924.JPG Sabina 2008. Oil on canvas, 14 x 14 in. untitled-3037.JPG Olivia. 2008 Oil on canvas, 14 x 14 in. Collection Christopher Foss untitled-3057 untitled-3692 Sabina. 2011. Oil on canvas, 14 x 14 in. untitled-2-3.JPG Sabina, Summer. 2006 Oil on canvas, 16 x 16 in. DSC_0533.JPG Karen Wilkin. 2006 Oil on canvas, 30 x 30 in. untitled-2.JPG Katie Ridder 1998. Oil on canvas, 14 x 14 in. Collection Mr. and Mrs. Peter Pennoyer untitled-6947.JPG < MORE IMAGES >

News and Events ​ 215 West 57th Street (between 7th and 8th Avenues) New York, NY 10019 ​ Special Exhibition: The Masters Paintings and Sculpture by Major 20th Century Art Students League Master Artists ​ A Three-Venue Exhibition: October 18th - December 1st 2018 ​ Exhibition Dates: Hirschl & Adler: 10/18–12/1 ​ 511 Projects: 10/28–12/1 The Art Students League: 11/1–12/1 Opening: 6-8p.m., Thursday, November 1st, 2018 ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ The Masters takes place at the three different venues, with staggered openings. Hirschl & Adler, on Thursday, October 18 will show and make available for sale paintings and sculptures by major 20th century ASL master artists. On Sunday, October 28, 511 Projects in Chelsea, opens a show of drawings, prints, and oils and watercolors by many of the same artists. On Thursday, November 1, the Phyllis Harriman Mason Gallery at the Art Students League opens its exhibition of works from the last years of the 20th century through present by master artist teachers and students. ​ The Masters will present 100 artworks made by major artists, from 1900 to the present, who studied, taught, or studied and taught at the Art Students League. On view will be works by the school’s early leaders like, Frank Vincent DuMond and Robert Henri; then their students, such as George Bellows, Norman Rockwell and Guy Pène du Bois; and then their “offspring,” including Reginald Marsh, and Yasuo Kuniyoshi. Subsequent generations of artists whose works will be included in the show and sale are Thomas Hart Benton, Fairfield Porter, David Smith, Adolf Gottlieb, Hans Hofmann, Lee Krasner, Stuart Davis, Philip Guston, Paul Jenkins, Will Barnet, James Rosenquist, Robert Rauschenberg, Knox Martin, and Norman Lewis, among others. George Grosz, Mark Rothko, Miguel Pou y Becerra and Lorenzo Homar, Celeste Woss y Gil Vaclav Vytlacil, Philip Guston, John Graham, Lee Bontecou, Arshile Gorky, Louisa Matthiasdottir, Ai Weiwei, and Zhang Hongtu are a few of the contributors to the amazing cauldron of cultures, ages, races, and ethnicities that has always been at the core of the Art Students League’s practice and community. Many of these artists will be represented in The Masters. ​ The exhibition at the Art Students League includes the work of these current instructors: Frederick Brosen, Naomi Campbell, Robert Cenedella, Bruce Dorfman, Cornelia Foss, Ronnie Landfield, Pat Lipsky, and James Little. ​ The Masters is a celebration of this unique art institution and of the students and teachers who are central to its history and its impact on art-making, art history, and the American tradition of openness and acceptance of diverseness. A portion of the proceeds of opening night sales will go to benefit the Art Students League. ​ ​ Cornelia Foss, "Karen Wilkin," 2006 Oil on canvas, 30 x 24 in. New York City Department of Cultural Affairs ​ ​ The League's lecture and exhibition programs, Seeds of the League, Model to Monument, and Exhibition Outreach Program are supported in part with public funds from the New York City Department of Cultural Affairs . * * * Gallery Opening: Recent & New Paintings ​ Curated by MM Fine Art March 22 - April 14, 2018 Rafael Gallery 235 East 59th Street, New York, NY Telephone: 212.755.4888 Gallery hours: Monday-Friday, 11:30 a.m. - 7 p.m. ​ See Selected Works Exhibited HERE * * * ​ Cornelia Foss' "Loper's Path " (2000, oil on canvas 60 x 70 in.) is featured on the New York Review of Books volume (just released this month - Oct. 2017), "The Collected Essays of Elizabeth Hardwick." The photo of the painting/ cover image is by Christopher Foss. ​ ​ * * * New York City, March 23, 2017. Cornelia Foss - recipient of a 2017 Academy of Arts and Letters Award for Art ​ Three of Foss' larger paintings were on view Spring of 2017 at The American Academy of Arts and Letters, 633 West 155th Street, New York, NY 10032 ​ ​ Book Signing at Gerald Peters Gallery, New York City October 14, 2015 Previous Book Signings: ​ Skira | Rizzoli Publications: Cornelia Foss: A Retrospective .... on Wednesday, October 14th, The Gerald Peters Gallery (24 E 78th St, New York, NY) gave a book-signing party... Invitation Cornelia Foss Exhibition at Guild Hall October 24, 2015 Guild Hall opening of an exhibition of Cornelia Foss paintings. Details Please reload

Still-Lifes Flower Grisaille. 2016 Oil on canvas, 14 x 14 in. 20161111-Capture0011-3-3 Bunch of Flowers. 1998 Oil on canvas, 14 x 14 in. Photograph: Christopher Foss Source: untitled-4061 untitled-4274_b-4274_02 Flowers. 2014 Oil on canvas, 14 x 14 in. Photograph: Christopher Foss Source: untitled-2-2_01 DSC_0989 My Mother's Yellow Plate. 2005 Oil on canvas, 14 x 14 in. DSC_0919-2 My Mother's Yellow Plate No. 7. 2003 Oil on canvas, 24 x 18 in. DSC_0876 Roses. 1989 Graphite on paper, 12 x 14 in. DSC_6030 Petunias and Geraniums. 1967 Gouache on paper, 4 x 6 in. DSC_0760 _DSC7134-2-5 Blue Hydrangeas. 2014 Oil on canvas, 14 x 14 in. Photograph: Christopher Foss Source: untitled-4068 untitled-4054 untitled-4044 Flowers and Cherries. 2007 Oil on canvas, 14 x 14 in. Photograph: Christopher Foss ****** Source: DSC_0585 untitled-4458_e-4774

1225 Park Avenue, #7E New York, NY 10128 U.S.A. cornelia@corneliafoss.com Contact Cornelia Cornelia Foss Name Email Subject Message Your details were sent successfully! Send

Land and Seascapes _DSC5052-2-11-3_edited 20161111-Capture0014-3-4 20161111-Capture0026-6 _DSC4996-2-1-1 Wainscott Pond, Winter. 2014 Oil on canvas, 72 x 72 in. untitled-4235 _DSC5113-2-20-5 _DSC5142-2-23-7 _DSC5128-2-22-6 _DSC5298-2-41-11 Central Park, January. 2015 Oil on canvas, 52 x 50 in. untitled-4458_e-4515 Central Park Trees, Late. 2015 Oil on canvas, 72 x 72 in. untitled-2855 20161111-Capture0005-1 20161218-Capture0011-2 Central Park Trees, Late. 2015 Oil on canvas, 72 x 72 in. untitled-2441 Central Park Winter, Thaw. 2015 Oil on canvas, 72 x 72 in. < MORE IMAGES >