Frank Lind
An Expression Of Love
March 4th - 28th Opening Reception March 4th 6 - 9pm
Special Solo Bass Performance with Hillard Greene
Frank Lind “To see the ocean is to experience the sublime. The great beauty of the littoral, the fluctuating place where land meets sea, is mystery made corporeal. I can’t really capture in paint something so profound;
I can only respond and, in doing so, perhaps understand it a little.” To be the owner and director of an art gallery is a lovesome thing. I meet people from every walk of life and every corner of the globe at a moment when their minds and hearts are open to the mystery and wonder of art and craft. As Mark Rothko observed, “A painting is not a picture of an experience, but is the experience,” one ideally available to all people. My calling to open an art gallery arose from my desire – as a painter and craftsman myself – to learn more and more about individual responses to art and what it is that makes the artist’s heart tick.
My first encounter with the painter Frank Lind was a refreshing and assuring one. Though we have traveled very different paths through life, I had the feeling we had arrived at the same place through an appreciation of great art. Like me, Frank has one foot firmly in the past, when craftsmanship was fully wedded to art, and another in the future, the realm of ideas.
Frank is extremely knowledgeable in the history of art and possesses a deep love and appreciation for the experience of making art in the traditional shop sense – a kindred spirit. He first showed me a series of beautiful figurative nudes, but my eye was drawn again and again to another picture, his extraordinary re-rendering of Vermeer’s Woman Holding A Balance c.1664 a painting of enormous complexity demanding exceptional painterly skill. I knew immediately, from my own experience as an artist, that he had made the work in order to probe the mind of Vermeer, to enter into the great painter’s creative process through experimentation and trial and error. The piece was not imitative, but intuitive, a very real attempt to travel back in time and relive the creation of one of the monuments in the history of Western art.
I understood, and share, the impulse.
My attention then turned to his near-photographic seascapes, in oil on canvas, each of which had a deep earthly resonance and luminous harmonic palette. I knew I had a show.
In terms of contemporary practice and art history, Frank Lind’s allegiance is to the long rainbow line of brilliant painters of nature. Corot, Homer, Sorolla and Sargent are particular inspirations.
One less well known but who speaks from the past is James Perry Wilson, the painter of the best background images in the dioramas in the Museum of Natural History in New York City and the Peabody Museum at Yale. Wilson used a palette of only twelve tube colors, and yet could mix an astonishing range of hues.
In Lind’s current practice, the distilled use of these twelve colors creates an intimate dynamic between paint and imagery that is transporting—looking at these paintings you smell the ocean breezes and revel in the play of light on water.
His studio is located in downtown Brooklyn. Yet, located as it is on the extreme western tip of Long Island, Brooklyn is of a piece with the pristine beaches that stretch one hundred and twenty miles to the east. Lind often escapes from the crowded inner city to the blue sky and waves of the Atlantic Ocean, sometimes to paint, always to observe and absorb.
Some of the ocean paintings are not only depictions of the sea, but also of the complexities of human interaction with these primal forces.
His models are at times his wife, Jeanne Wilkinson, and her two sons, Aaron and Andrew Yonda.
Frank Lind’s work has been shown in New York City and nationally. While formerly the Dean of the School of Art and Design at Pratt Institute, he is now able to devote himself entirely to studio practice.
Frank Lind “To see the ocean is to experience the sublime. The great beauty of the littoral, the fluctuating place where land meets sea, is mystery made corporeal. I can’t really capture in paint something so profound;
I can only respond and, in doing so, perhaps understand it a little.” To be the owner and director of an art gallery is a lovesome thing. I meet people from every walk of life and every corner of the globe at a moment when their minds and hearts are open to the mystery and wonder of art and craft. As Mark Rothko observed, “A painting is not a picture of an experience, but is the experience,” one ideally available to all people. My calling to open an art gallery arose from my desire – as a painter and craftsman myself – to learn more and more about individual responses to art and what it is that makes the artist’s heart tick.
My first encounter with the painter Frank Lind was a refreshing and assuring one. Though we have traveled very different paths through life, I had the feeling we had arrived at the same place through an appreciation of great art. Like me, Frank has one foot firmly in the past, when craftsmanship was fully wedded to art, and another in the future, the realm of ideas.
Frank is extremely knowledgeable in the history of art and possesses a deep love and appreciation for the experience of making art in the traditional shop sense – a kindred spirit. He first showed me a series of beautiful figurative nudes, but my eye was drawn again and again to another picture, his extraordinary re-rendering of Vermeer’s Woman Holding A Balance c.1664 a painting of enormous complexity demanding exceptional painterly skill. I knew immediately, from my own experience as an artist, that he had made the work in order to probe the mind of Vermeer, to enter into the great painter’s creative process through experimentation and trial and error. The piece was not imitative, but intuitive, a very real attempt to travel back in time and relive the creation of one of the monuments in the history of Western art.
I understood, and share, the impulse.
My attention then turned to his near-photographic seascapes, in oil on canvas, each of which had a deep earthly resonance and luminous harmonic palette. I knew I had a show.
In terms of contemporary practice and art history, Frank Lind’s allegiance is to the long rainbow line of brilliant painters of nature. Corot, Homer, Sorolla and Sargent are particular inspirations.
One less well known but who speaks from the past is James Perry Wilson, the painter of the best background images in the dioramas in the Museum of Natural History in New York City and the Peabody Museum at Yale. Wilson used a palette of only twelve tube colors, and yet could mix an astonishing range of hues.
In Lind’s current practice, the distilled use of these twelve colors creates an intimate dynamic between paint and imagery that is transporting—looking at these paintings you smell the ocean breezes and revel in the play of light on water.
His studio is located in downtown Brooklyn. Yet, located as it is on the extreme western tip of Long Island, Brooklyn is of a piece with the pristine beaches that stretch one hundred and twenty miles to the east. Lind often escapes from the crowded inner city to the blue sky and waves of the Atlantic Ocean, sometimes to paint, always to observe and absorb.
Some of the ocean paintings are not only depictions of the sea, but also of the complexities of human interaction with these primal forces.
His models are at times his wife, Jeanne Wilkinson, and her two sons, Aaron and Andrew Yonda.
Frank Lind’s work has been shown in New York City and nationally. While formerly the Dean of the School of Art and Design at Pratt Institute, he is now able to devote himself entirely to studio practice.
