David Fertig - Jay Grimm — Art Advisory

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Dav id Fert ig
2012
Bonaparte, 2011, huile sur panneau / oil on panel 13 ½ x 13 1/8 inches
GA LE R I E
DE
BELLEFEUILLE
The life and t i m e s o f t h e late 18th Century, especially
the pomp and pageantry of the military have been the
focus of David Fertig’s work for the last decade. While
it is tempting to see Fertig as a history painter, yearning
to resurrect the ancient dichotomy of Academicism
versus Romanticism, this viewpoint is not correct. Fertig’s
ambition is to engage a much more current moment in the
history of painting, namely the New York School, its
antecedents and aftershocks, especially as it relates to the
figurative tradition.
His use of ships and soldiers as subject matter stems
from his deep interest in the period about which he is a
self-taught authority. Fertig’s curiosity about the late
18th Century affairs of Europe and North America has led
him to read primary sources about the armies and
navies of the time such as the proceedings of inquests into
the loss of vessels made by the British Admiralty and
the personal correspondence of field marshals. He
prefers to study first-hand accounts to later fictionalized
ones. To aid in his art-making, Fertig consults etchings,
paintings and sculptures from the era, which give him a
good sense of the appearance of the people and things he
depicts. Fertig harnesses his passion for a particular
moment in history to address the timeless concerns of
painters:
composition, colour, line, light and the
integration of figure into landscape.
The surface and handling of paint is perhaps the most
remarkable aspect of Fertig’s work. .As a young artist
in the early 1960s, Fertig absorbed the ethos and
approach of Abstract Expressionism, another heroic
moment in history, which was the dominant style at the
time. His brushstrokes and facture relate directly to
Post-War painting especially as practiced by John
Graham and Nicolas de Stael. While this movement is
usually associated with abstraction, Fertig prefers to
look at the figurative impulse within it. From his swirling
impasto and scumbling emerge entirely convincing
illusions of space and figures, much like Fertig's mentor,
Robert Kulicke. Furthermore, Fertig does not dismiss
illustration art (he adored Treasure Island as a child)
and as his titles suggest, he does want to tell a story, or
at least suggest one. Fertig's work conveys what he
imagines actually happened. In this regard, Fe1tig should
b e grouped with his friend Robert Andrew Parker, as
well as with more widely renowned artists such as R. B.
Kitaj and Jim Dine. All of these artists privilege the
figure, allow nature to influence their painting and
convey a narrative to their audience, while staying true
to the stylistic achievements of their immediate
predecessors. By Jay Grimm
David Fertig was born in 1946 in Philadelphia,
Pennsylvania. He lives and works in rural Pemberton,
New Jersey.
Depuis une dizaine d ’ a n n é s ,la vie à la fin du X V I I I e
siècle, notamment la pompe et l'apparat militaire, est le thème
central de l 'oeuvre de David Fertig. Toutefois il serait faux,
bien que tentantl, de ne voir en cet artiste qu’un peintre
d’histoire s oucieux de raviver l’ancienne dichotomie entre
l'académisme et le romantisme. Fertig cherche plutôt à saisir
un moment beaucoup plus actuel de l’histoire de la peintre:
l’École de New York et ses antécédents et conséquences,
notamment sur le plan de la tradition figurative.
La représentation de soldats et de bateaux dans l'oeuvre dc
Fertig vient de son vif intérêt pour une période dont il est un
expert autodidacte. Sa curiosité pour les affaires e uropéennes
et nord-américaines de la fin du X V I I I e siècle l'a incité à
lire les sources primaires associées aux armées et aux m arines
de l'époque, tels les procès-verbaux des enquêtes
de
l'Amirauté britannique sur ses pertes de vaisseaux ou la
correspondance privée des maréchaux. Aux récits romancés, i l
préfère les comptes rendus de première m a i n et pour
s'imbiber de l’apparence des personnages et d e s choses qu’il
d é c r i t, i l s'inspire des e aux-fortes, tableaux e t sculptures de
cette é poque. Harnachant sa passion pour un moment parliculier
de l ’ histoire, il s’intéresse aux préoccupations éternelles des
peintres: la composition, la couleur, la ligne, la lumière et
l’intégration des figures aux paysage.
.
Les aspects les plus remarquables de son art participent
sans doute de la surface el du t ra it e me nt de la peinture.
Plus jeune, au début des années 1960, Fertig a intégré
la doctrine et l’approche prééminentes d'un autre
movement marquant, l'Expressionisme abstrait. Son
pinceau et son style évoquent immédiatement la peinture
d e l'après-guerre, plus précisémcnt ce!le des oeuvres de
John Graham ct de Nicolas de Stael. Bien que ce
mouvement soit généralement associé à l'abstraction,
Fertig préfère y voir la tendance figurative qui l 'anime.
Du tourbillon d es empâtements et des glacis de ses
peintures
émergent
des
illusions
parfaitement
convaincantes d'espaces et de figures qui rappellent
indubitablement la touche de son mentor, Robert Kulicke.
De plus, Fertig n’écarte pas l’art de l’ illustration (enfant,
il adorait L’Ȋle au trésor) et comme le donnent à penser
les titres de ces oeuvres, il souhaite vraiment raconter
ou, du moins, suggérer une histoire. I l représente les
choses comme il imagine qu'elles se sont vraiment
passes. Aussi ne devrait-il pas ê tre séparé de son ami
Robert Andrew Parker ou d 'autres artistes plus célèbres,
tel R. B. Kitaj ou Jim Dine, qui tous privilégient la
figure, laissant la nature influencer leur peinture et offrant
à l eur public un récit, tout en restant fidèles aux réussites
stylistiques de leurs prédécesseurs immédiats.
Aides-de-Campe, 2011
huile sur panneau / oil on panel
7 1/4 x 9 3/8 inches
The Boat from the ‘Agamemnon', 2011
9 3/4 x 9 3/8 inches
7th Regiment Hussar, 2011
12 5/8 x 11 1/2 inches
Aide-de-Campe, 2011
12 x 8 7/8 inches
The Loss of the Margaret Thomas, 2003
12 3/8 x 12 1/2 inches
Delacroix, 2011
10 1/8 x 9 7/8 inches
..
Bonaparte, 2001
12 1/4 x 13 1/4 inches
The Woman on the Cliff, 2011
9 3/4 x 10 1/8 inches
Parade, 2007
Huile sur panneau / oil on panel
9 3/8 x 11 1/2 inches
Hussar, 2011
10 x 8 1/4 inches
1802, 2005
huile sur toile / oil on canvas
9 3/4 x 10 3/4 inches
Buonaparte, 2011
huile sur toile / oil on canvas
11 3/4 x 8 7/8 inches
,.
Page de gauche / Left Page:
The Aides-de-Campe of Marshal Ney, 2011
29 1/4 x 29 3/8 inches
.
Buonaparte, 2011
10 3/4 x 9 3/4 inches
.. .
The Loss of the ‘Sophie Dupree’, 2011
5 3/4 x 16 7/8 inches
Quiberon Bay, 2011
huile sur panneau
9 3/8 x 18 3/8 inches
Royal Marines,2011
9 1/8 x 13 1/4 inches
The Boat from the ‘Arrow’, 2011
11 x 12 1/2 inches ..
1793, 2011
9 7/8 x 14 7/8 inches
1792, 2011
8 1/2 x 14 1/2 inches
19
The ‘Constitution’ and the ‘Guerierre’, 2011
10 1/4 x 10 5/8 inches
The ‘Wasp’, 2004
huile sur toile sur panneau / oil on canvas on panel
11 x 13 7/8 inches
The Glorious First of June, 2011
7 3/4 x 12 7/8 inches
BIBLIOGRAPHIE I BIBLIOGRAPHY
Scolarité / Education
1972
MFA, Art Institute of Chicago, Illinois
1967
BFA. Philadelphia College of Art,
Pennsylvania
1986
1984
1983
1977
Expositions individuelles principales
Selected Solo Exhibitions
2012
2011
2010
2009
2008
2007
2006
2005
2004
2003
2002
2001
2000
1998
1997
1996
1995
1994
1993
19781992
Galerie de Bellefeuille, Montréal, Quebec
Paul Thiebaud Gallery, San Francisco, CA
Sladmore Contemporary, London, England
James Graham & Sons, New York, NY
More Gallery, Philadelphia, PA
Tatischeff Gallery, New York, NY
Kerygyma Gallery, Ridgewood, NJ
Evansville Museum of Arts, Indiana
Eastlake Gallery, New York, NY
Carspecken Scott Gallery, Wilmington, DE
Eastlake Gallery, New York, NY
Annual shows, Locks Gallery, Philadelphia, PA
John Warren Bookseller, Philadelphia, PA
Griffin-Haller Gallery, Washington Depot, CT
Noyes Museum, Oceanville, NJ
Pennsylvania Academy of the Fine Arts,
Philadelphia
Expositions de groupe principales
Selected Group Exhibitions
2011
2006
2006
“Two Painters”, PDX Gallery, Portland, OR
“Summer Selections”, Mulry Fine Art,
West Palm Beach, FL
“Wood Work”, James Graham & Sons, New York, NY
Collections
Blue Cross of Pennsylvania, Camp Hill, PA
Chemical Bank. New York, NY
Cigna, Philadelphia, PA
Citibank, New York, NY
Citicorp, Newcastle, DE
Colgate University, Hamilton, NY
Cooper & Lybrand, Philadelphia, PA
Evansville Museum of Art & Science, Evansville, PA
Hahnemann Hospital, Philadelphia, PA
Kidder Peabody, New York, NY
Lexington Partners, New York, NY
Merrill Lynch, Princeton, NJ
Collections (suite)
Collections (continued)
Museum of Pennsylvania, Harrisburg, PA
Price Waterhouse, Washington DC
Provident Mutual Life Insurance, Philadelphia, PA
RCA Corporation, Cherry Hill, NJ
Smith Kline, Philadelphia, PA
Subaru, Cherry Hill, NJ
University of Minnesota, Minneapolis, MN
Woodmere Art Museum, Bryn Mawr, PA
2001
A Selected Exhibition, The Week, December
1996
Sosanski, Edward, The Philadelphia Enquirer, May 17
1994
Gardner, James, The New York Review of Art, February
1993
Meyers, Susan, The Kennett Paper, October 28 – November 3
1992
Sosanski, Edward, The Philadelphia Enquirer, May 17
Publications et critiques
Publications and Reviews
1990
Stern, Fred, Letters from America, Mizue, Spring
2011
Baker, Kenneth, Fertig at Thiebaud: His Aim a
Mystery or History ? San Francisco Chronicle, May 7
1989
Grove, Nancy, Not So Simple, Art and Antiques, December
LeClair, James, Painting the Still Life, Watson-Guptill Publications
1985
Scott, Bill, American Artist, November
2007
Scott, Bill, David Fertig at James Graham & Sons,
Art in America, April
1984
Leonard, Elizabeth, Painting the Landscape
Watson-Guptill Publications
2006
2005
2003
Smoler, Frederic, Combat Artist
American Heritage, November/December
Painting, Honor & Treachery, Forbes Life, December
© G A L E R I E D E B E L L E F E U I L L E , 2012
David Fertig, James Graham & Sons (exhibition catalog)
ISBN: 978-2-923814-31-5
Dépôt légal – Bibliotèque et Archives nationals du Québec 2012
Dépôt légal – Bibliotèque nationale du Canada, 2012
Naves, Mario, Painting that’s Alive Today…
The New York Observer, November 3
2002 Brown, Gerard, Argh! The Cruel Sea,
Philadelphia Weekly
Prisant, Carol, The Devil and Ms. W
The World of Interiors, August
2001
Golonu, Berin, Previews, Artweek, October
Texte / Text: Jay Grimm
Traduction/ Translation: Bérengère du Guernon
Conception / Design: Vincent Perier
Publiè par / Published by· GALERIE D E BELLEFEUILLE
Impression / Printer: Transcontinental
Printed to accompany the exhibition
“David Fertig”, May 5 – 15, 2012
lmprimé au Canada i Printed in Canada

David Fertig - Jay Grimm — Art Advisory

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