Michael McEwan's beautiful and evocative color harmonies, rich and vital
brushwork, subtle command of the nuances of light, and sophisticated
compositions distinguish his art. His paintings and works on paper demonstrate
his mastery and knowledge of painting -- its history, methods and materials. He
is equally adept in a variety of media: oil, acrylic, watercolor and pastel.
Michael's vibrant "bravura" paint handling and keen awareness of
decorative geometric possibilities inherent in the picture plane link his work
with the contemporary art world's emphasis on "mark-making," structure
and abstractions. Yet his historic, traditional bond with nature and reality
blend his art with the 19th century landscape tradition.
Michael's subject matter remains principally of landscapes, namely:
light-infused Ohio riverscapes, bucolic rural pastoral views, expansive marsh
vistas along the Maryland shore. However, his paintings are evolving toward more
muted tones, which nevertheless have a resonant vitality. The artist masterfully
captures specific times and places, while transcending those depictions, to
create visual poems about man's relationship with nature.
Michael has participated in exhibitions such as: The Butler Institute of
American Art "Midyear/Annual Exhibition," Youngstown, Ohio;
"Realism Today," Evansville Museum of Arts and Sciences, Evansville,
Indiana; "Realism 90," and "Realism 92," Parkersburg Art
Center, Parkersburg, West Virginia. Michael has had many solo exhibitions in
institutions and galleries in Columbus, Atlanta, Indianapolis, Knoxville, San
Diego, etc.
Michael served as project artist for St. Brigid of Kildare Church, Dublin, Ohio
where among other works he executed a large apse mural in the church's main
sanctuary, and designed over 1200 sq. ft. of stained glass windows.
Michael's work may be found in the permanent collections of the Butler Institute
of American Art, Youngstown, Ohio, Schumacher Gallery, Capital University,
Columbus, Ohio; Catholic Diocese of Columbus; Swope Museum of American Art,
Terre Haute, Indiana; Elzay Gallery, Ohio Northern University, Ada, Ohio and
over 400 private and corporate Collections. Since 1986 the Keny Galleries has
exclusively represented McEwan in Ohio.
Michael retains his Artist-in-Residence position at Capital University while
teaching painting classes. Recently, he completed a commissioned monumental
portrait in oil, The Young Martin Luther, for the permanent collection of
Capital University. Twelve of his large panoramic landscapes will be featured in
a one-person exhibition at the Columbus Cultural Art Center late next fall.
Review of September, 2010
Exhibition:
Columbus
Dispatch, The (OH)
EXHIBIT / KENY GALLERIES
Varied influences evident in strong
landscapes
By Amy Davis For The Columbus Dispatch
Published: Sunday, September 12, 2010
Edition: Home Final
Section: Features - Life & Arts
Page: 6E
The
romantic majesty of the landscape is highlighted in the painted scenes of land
and sea at Keny Galleries. Michael McEwan is most obviously influenced by
impressionism. His brushstrokes are painterly and broad, his colors unflinching
and free. He focuses on liminal times of day, in the periods of dawn and dusk,
and the strange cast of those in-between periods is clear in his paintings.
In
particular, works such as Sunset the 4th of July/Hoover Reservoir evokes
that impressionist style. Clouds are touched with the pink haze of twilight, the
shoreline trees dark on the shimmering water. The painting, measuring 5 by 4
feet, seems both spiritual and massive.
Yet,
increasingly in this show, it's clear that McEwan has other influences,
including the landscapes of George Inness, the Arts and Crafts movement, and the
Hudson River school, among others.
Of
the artist's recent explorations in his landscapes, said Tim Keny, co-director
of Keny Galleries: "We see him delving into the under-painting and the
subtle brushwork of artists like Inness." Keny also noted the exploration
of "flat patterning, tonal ranges and really elegant design."
August
Morning/Mist in the Pasture
has a distinct feel of Japanism through the flat boldness and design of the
canvas. The sun hangs low in the sky, reflected on collected rainwater in the
field. Perspective is maintained, yet it is reduced to almost a flat surface,
yielding a sense of otherworldliness.
Olentangy
River South of Delaware/Fall Sundown
is a large painting that captures the openness and vastness that the Midwest
still embodies.
Town
in the Valley/June
is entirely different. Though still a landscape, it focuses on the lift and
dimensionality of the clouds. The painting has a Cezanne-esque geometry, the
palette far more yellow than usual for McEwan.
Each
painting inhabits its own style, allowing its subject to be expressed
eloquently.
*
"Michael McEwan: Recent Landscapes and Riverscapes" continues through
Oct. 4 in Keny Galleries, 300 E. Beck St. Hours: 10 a.m. to 6 p.m. weekdays.
Call 614-464-1228 or visit www.keny galleries.com.
Photo : Olentangy River South of Delaware/Fall Sundown by Michael McEwan
THE COLUMBUS DISPATCH Copyright (c) 2010 The Dispatch Printing Co.
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