Category Archives: Modern Contemporary

  • TITLE: Marking – 13
  • SIZE: 22.5″ X 30″
  • MEDIUM: Watercolor and Acrylic
  • SIGNED: Yes

Unborn UnDying – 1

Unborn Dying – 7

Marking – 9

David Teachout born in  (1933-    ) L.A California.

It  was after a return from the service in the late 1950’s and within the context of studying for a degree in landscape architecture that David Teachout began his formal development as a painter.  First in his native California and then in North Carolina where he completed his degree and had begun to teach Teachout rediscovered the impulse to create that had lain dormant since childhood.  Abandoning university teaching and work in established design offices in 1964 he moved with his young family to Santa Cruz California in order to devote himself to painting and work as an independent environmental designer.

Teachout began painting as an abstract expressionist.  Discovering early on a high interest in color textures and gestures quickly gave way to color fields and simple compositions which allowed color to be the prime element of expression.  The importance of color led him to make distinctions in which contrast existed only because of color differences.  He began to see color as form. Simple shapes began to break off edges and eventually become shapes composed of bands of color interacting with each other and their ground.  These bands became the object and were curved and linked at the ends into continuous bands of color.  The paintings grew larger.   During this early phase of painting he progressed from using primed canvas to using unprimed canvas stained with acrylics.

In 1971 he began the Falling Series experimenting with un-stretched and stretched canvas which was hung shaped and folded in preparation for the poured paint.  The sense of duration occurs in some of these works.  Color relationships were approached with greater abandon and resulted in higher contrasts.  These works range from 6′ to 12′ in height and are meant to be stretched in their final form.

In the early 1980’s Teachout began a series of small works on paper utilizing views out of his studio windows as starting points for abstraction.  Simultaneously he was drawing from the figure.  The works on paper evolved during the 1980’s into a fully developed ‘Santa Cruz’ series of paintings.  Always the movement was toward abstraction with the later paintings in the series entirely self referential.  Various spacial and structural notions emerged in this series.  For example diagonals which appeared rather unconsciously in earlier works were given later in the series conscious consideration by crossing the diagonals as primary definitions of squares.

This process evolved through the X figure and in Santa Cruz’ #27 & #28 was transcended to become an upper and lower relationship of the diagonals leading to solid/void and ground/sky associations.  These spacial and structural considerations were always done within the larger context of color relationships as the primary concern of he painter.  The very subtle color effects the transparencies and the evidence of process are qualities available to the viewer in the presence of the paintings and can only be hinted at in reproductions.  Many of the ‘Santa Cruz’ series have been exhibited in non-commercial exhibitions  in California.  ‘Santa Cruz’ #15 is included in the growing collection of Teachout’s at Occidental College in Los Angeles.

Selected Painting Exhibitions
Santa  Cruz Invitational Smith Gallery UCSC Feb-Mar 1989.
California State University Hayward Solo Exhibition Nov-Dec 1987,
CBS Movie “Necessity” Painting for living room Nov 1987,
Occidental College Centennial Exhibition Los Angeles CA Jan-Feb 1987,
Santa Cruz Art Center Santa Cruz CA Solo Exhibition Sept 1985,
“Unframed Art–an Exhibit of Paintings” The College of Marin Art Gallery Kentfield CA FEB-MAR 1975,
Occidental College Los Angeles A Solo Exhibition Jan-Feb 1975,
Cooperhouse Gallery Santa Cruz CA Solo Exhibition July-Aug 1974,
Place/Allrich Gallery San Francisco CA exhibiting member 1973,
Cabrillo Music Festival Cabrillo College Aptos CA Aug 1972,
“Real Colorists” Richmond Art Center Richmond CA June 1969,
Galeria Carl Van der Voort San Francisco CA exhibiting member 1967-69
Solo Exhibition Jan 1969, Laguna Beach Museum of Art Laguna Beach CA 14th Annual Exhibit 1968,
University of California Santa Cruz Solo Exhibition Jan 1968,
30th Biennial Exhibition of Contemporary American Painting The Corcoran Gallery of Art Washington DC 1967
(Selected for the American Federation of Arts Traveling Exhibition 1967-68)
James D Phelan Awards Palace of the Legion of Honor San Francisco CA 1965 & 1967,
85th Annual Exhibition of the San Francisco Art Institute of the San Francisco Museum of Art 1966,
Cabrillo College Aptos CA Solo Exhibition Oct 1966,
15th Painting Annual Richmond Art Center Richmond CA 1966,
Cupola Gallery Santa Cruz CA exhibiting member 1965-66
Solo Exhibition April 1966, North Carolina Artists’ Annual Exhibition North Carolina Museum of Art Raleigh NC 1963,
Private Collections in California and New Mexico and East Coast, Included in the Art Review 1989.

Paintings by David Teachout are part of the Farhat Art Museum Collection in Beirut, Lebanon.

Submitted by Naim I. Farhat



  • TITLE: Venice 1947
  • SIZE: 42″ X 25″
  • MEDIUM: Oil on Canvas
  • SIGNED: Lower Right
  • DATED: 1947
  • NOTES: From Robert Gwathmey Collection

A Chicago-born  (January 8, 1923) and educated Expressionist* artist, Herbert Katzman was noted for his unique, textured paintings as well as sculpture.  Known as a slatherer, he used a palette knife* to put thick layers of paint on canvas to give it a dense look.

His father, Louis, was a successful dentist and his mother Faye a homemaker.  When Herbert was 11, his mother died, and he and his older brother Bob were raised by their father and a housekeeper.  The brothers attended St. John’s Military Academy for their elementary education, but Herbert soon discovered that he wanted to study art despite the objection of his father.  He put himself through school working as a student janitor and a few other odd jobs.  At 17 he entered the Advanced School of the Art Institute of Chicago, his interest having turned from sculpting to painting.

Katzman served in the U.S. Navy from 1942 to 1944, went on to continue his studies thereafter, and graduated from the School of the Art Institute of Chicago in 1946.  He received a traveling Scholarship Award and moved to Paris, France, where he met his future wife.  During his four year European stay he traveled extensively in Italy, the south of France, England, Scotland, Czechoslovakia, Holland and Belgium. Scenes from these countries became subjects for numerous landscape paintings.  While in Ostend, Belgium he arranged for a meeting with the Belgian artist James Ensor, who sat for a drawing that Katzman made of him.

The family moved to New York City in the 1950s and the artist took on odd jobs to support his family.  He became a member of Edith Halpert’s Downtown Gallery*, and in 1952 was was selected by the Museum of Modern Art to participate in it’s Fifteen American’s show.  This was followed by many group and one-man shows. In 1955 he received a Fulbright Grant*, which allowed him to move to Florence, Italy for a year where he painted many landscapes of his surroundings and made numerous small sculptures modeled in wax and cast in bronze.  Upon his return to New York in 1956, he found work as a teacher of painting at the School of the Visual Arts, New York*.  For the next decades he painted landscapes and portraits, sculpted and created large drawings in chalk.

Katzman’s work is in the permanent collections of the Whitney Museum and the Museum of Modern Art in New York, among others.   In 1968, he was the recipient of a 1968 Guggenheim Fellowship, and in 2002-2003, a Lee Krasner Award from the Pollock-Krasner Foundation.  In November 2010, the Museum of the City of New York held a solo exhibition of Kastner’s city paintings: “Glorious Sky: Herbert Katzman’s New York.”

Herbert Katzman died in his studio on October 15, 2004.
Sources include:
Information provided by Bert Tyler
Fine Art Connoisseur magazine, December 2010



  • TITLE: Flowers from the Sky Series
  • SIZE: 16″ X 18″
  • MEDIUM: Watercolor
  • SIGNED: En Verso


Brenda Louie (1953-)

She is a China-born American painter and art studio faculty member at the California State University, Sacramento.

Early life and education
Brenda Louie was born Lei Yanwen or Louie Ngun-Man (in the Mandarin and Cantonese dialects, respectively) in 1953, in rural Guangdong Province, China, and grew up in Hong Kong.  She studied classical Chinese literature and calligraphy under her father, Chinese calligrapher and scholar Lui Chiu Sheung, and studied Chinese brush painting under Master Au Ho-Nien, from an early age.

Louie immigrated to the United States in 1972.  After earning her undergraduate degree in economics, Louie returned to school to study art, receiving her M.A. in painting from California State University, Sacramento in 1991 and her M.F.A. in painting, drawing and art installation from Stanford University in 1993.

Louie studied painting under American masters including Oliver Jackson, Joan Moment, Nathan Oliveira, David Hannah and Frank Lobdell.  Between 1991 and 1993, Louie was awarded both the Robert Mondavi Fellowship and the Gordon F. Hampton Fellowship to pursue her M.F.A at Stanford University, where she met John Cage, whose work helped shape Louie’s creative thinking.  While at Stanford, she was also introduced to many leading American artists, including Mel Chin, Ann Hamilton, Robert Storr, and Lorna Simpson.  These interactions stimulated her curiosity and interest in expanding her use of mixed media in art installations.  Also while at Stanford, Louie studied Chinese philosophy with Dr. Philip J. Ivanhoe and Chinese art history with Dr. Richard Vinograd.  Her mixed cultural and educational background naturally prepared her to take on an eclectic and pluralistic approach toward art.

Louie’s art fuses Western and Eastern visual cultures, from Chinese calligraphic practices to American Abstract Expressionism.  As her work evolved, it increasingly expressed her Chinese diasporic experiences, especially her memories of the social and political turmoil that constituted the backdrop of her youth.  Louie’s previous major mixed-media art installations, Map of Human Heartedness andThe Book of Zero Series, are visual tributes to humankind’s ongoing struggle for human rights and social justice.  In both installation series, Louie exploits her “cartographic method” to integrate Chinese ideograms and text into a trans-cultural visual dialogue.  In her recent Flowers from the Skyseries, Louie unites Chinese flower painting techniques with Western romantic aesthetics while unapologetically asserting her femininity as an artist, a factor in her art which she withheld for many years.

Louie has received numerous awards and honors, including a California State Senate Resolution of Commendation sponsored by State Senator Leroy Greene.  Louie’s considerable contributions to the artistic community have also earned her a Certificate of Recognition, a Commendation, and a Fellowship Award for Visual Artists from the Sacramento County Board of Supervisors, and a Resolution from the Sacramento City Council and Sacramento Mayor Joe Serna, Jr.  Louie’s work has been exhibited widely both in China and the United States; it has been collected by individuals in the private sector as well as by numerous public organizations, including the Crocker Art Museum (Sacramento, California), Zhejiang Museum (Hangzhou, China), Farhat Art Museum, (Beirut, Lebanon) and Wickland Oil Corporation (California).

Louie has served as a professor of art at the San Francisco Art Institute, the University of California at Davis, and Stanford University.  Louie currently teaches painting and drawing at California State University, Sacramento.

This information is provided by Farhat Art Museum,( Beirut- Lebanon).