Stone Roberts

Last updated
Stone Roberts
Born1951
Asheville, North Carolina, United States
Education Tyler School of Art, Yale University
Known forPainting, drawing
StyleFigurative, representational
PartnerBetsey (née Milligan) Roberts
Website Stone Roberts
Stone Roberts, Interior Light, Oil on linen, 72" x 96", 2002. Stone Roberts InteriorLight 2002.jpg
Stone Roberts, Interior Light, Oil on linen, 72" x 96", 2002.

Stone Roberts (born 1951) is an American representational artist known for figurative works, street scenes and still lifes. [1] [2] [3] His art has been compared to European Old Masters and neoclassicists from Vermeer and Caravaggio to Jacques-Louis David and Ingres for its mastery of materials, precision of form and composition, complex play of light and detail, and heightened sense of texture and color. [4] [5] [3] Nonetheless, critics also identify an equally strong contemporary strain in his inclination toward enigmatic or incongruous elements and formal choices, which raise unresolved questions involving action, time, memory and history in his paintings. [6] [7] [8] American Artist critic Michael Burlingham wrote that rather than replicate things as they are, for Roberts "realism is a language for conjuring images of subtle imagination, works that speak to the deepest levels of experience". [9]

Contents

Roberts has appeared in surveys at the Metropolitan Museum of Art, [10] Drents Museum (Netherlands), [11] [12] Orlando Museum of Art [13] and Delaware Art Museum, [14] and had solo exhibitions at the Museum of the City of New York [15] and New Britain Museum of American Art (2015), [16] among other venues. [17] [18] His work belongs to the public collections of the Metropolitan Museum, de Young Museum and Asheville Art Museum, among others. [19] [20] [21] After being based in Manhattan for most of his career, Roberts lives and works in Connecticut. [22] [3]

Early life and career

J. Stone Roberts was born in 1951 and raised in Asheville, North Carolina, the son of Camille Stone Roberts and Dr. Pearce Roberts Jr.; his maternal grandfather was the college athlete and coach, Stein Stone. [23] [24] [25] In 1969, Roberts entered Yale University intending a career in law or business, but after taking a printmaking course his sophomore year, changed his focus to art. [26] [27] He studied drawing under the realist painter William H. Bailey, eventually turning his interest to painting and earning a BA degree in 1973. [26] [28] [22] [29] He married Elizabeth (Betsey) Barksdale Milligan in 1974 and continued his studies at the Tyler School of Art in Philadelphia and Rome, working respectively with the painters John Moore and Ronald Markman and earning an MFA in 1975. [24] [3] [29]

Roberts's inclinations toward old-master aesthetics and beauty ran contrary to the dominance of conceptualism and minimalism in contemporary art of the time. [26] [23] He moved to New York City in 1975 and worked in banking while painting in his free-time until 1981, when he decided to devote himself fully to art at his wife's urging. [30] [26] [31] He refined his approach for a year while the couple lived at her family home in the Mississippi Delta before beginning his first large-scale work. [30] [32]

After returning to New York, Roberts began exhibiting at Robert Schoelkopf Gallery, including his first solo show of figurative and still-life work in 1986. [33] After a second show there in 1989, [6] he exhibited at the Salander-O'Reilly (1993–2004), [34] [35] Leigh Morse Fine Art (2009) and Hirschl & Adler Modern (2014) galleries in New York, [3] as well as at the Asheville Art Museum (2007), Museum of the City of New York (2012) [15] and New Britain Museum (2015). [16]

Work and reception

In addition to European masters, influences on Roberts's art include Greek mythology, biblical and literary sources, Roman Classicism, and painters associated with specific genres, such as Henri Fantin-Latour and Balthus, among others. [2] [36] [23] [3] He has generally looked to these sources as launching points for new compositional and thematic ideas—introducing enigmatic, private objects and details—rather than for their direct subject matter or symbolic content. [36] [29] [37] Critics suggest that Roberts's attachment to traditional sources expresses a desire to retain or retrieve timeless values (aesthetics, beauty, skill) that contemporary art seemingly rejected, as well as peculiarly American experiences, objects and ways of life. [22] [38] [9] Charles Michener wrote, "The driving concern in Roberts's art seems, more precisely, southern American in its yearning to arrest the reckless momentum of a democratic society that creates a spiritual vacuum." [23]

Stone Roberts, English Forcer Still Life, Oil on linen, 27" x 36", 2005. Stone Roberts English Forcer Still Life 2005.tif
Stone Roberts, English Forcer Still Life, Oil on linen, 27" x 36", 2005.

Unlike the European masters, however, who used realism to factually document specific persons and settings, Roberts freely alters elements in his scenes, emphasizing contemporary senses of ambiguity, sensuality and the commonplace. [9] [29] [39] While some writers detect a modern knack for narrative tension and psychological portraiture in his work, [40] [9] [23] [27] others point to enigmatic elements—incongruous or eccentric details and juxtapositions, unnerving perspectives and offhanded arrangements. [3] [38] [30] They regard his work as mysterious and irreducible to clear-cut explanation, or in Michener's words, less about revelation than reverberation. [23] [2] [34] [29] In this vein, Roberts has been compared to modern representational painters such as Lennart Anderson and John Koch, among others. [29] [34]

From about 1982 to 2000, Roberts alternated between ambitious, time-consuming figurative tableau and still lifes in which he pushed his explorations of paint handling, color and form. [4] [23] The figurative works were set within timeless New York apartments decorated with displayed signs of Southern gentility, lavish curtains and Oriental rugs; they often involved extensive preparatory sketches and graphite drawings to work out compositions, poses (of friends and family) and ideas. [2] [9] [3] In the 2000s, he expanded his figurative works to New York street scenes, while continuing to paint still lifes. [4] [23] [15]

Figurative works

Roberts's first large-scale realistic work was Janet (1982–84), a formally structured, somewhat muted painting of a frontally placed woman in an interior with a dog, a still life, and enigmatic objects (a broken wine glass, fallen amaryllis blossom) that evoked a sense of emotional uncertainty. [23] [27] The work, which referenced Vermeer in composition and treatment of light, was acquired by the Metropolitan Museum of Art a year after its completion. [24] [4] [19]

Roberts's 1986 solo debut was anchored by The Conversation (1984–85), a 7.5-foot, ten-person tableau of carefully choreographed gestures and male-female relationships within a contemporary social gathering. [33] [23] [3] Inspired by Virgil's story of Dido and Aeneas, it was his first "conversation piece", a genre introduced by Dutch and Flemish masters, which depicted groups of figures engaged in everyday activities. [41] [23] [3] New York Times critic Vivien Raynor wrote that Roberts created mystery in the work by "introducing a sense of Southern graciousness into scenes that are manifestly Northern"—in this case, a uniformed maid and anachronistic classical columns within a Manhattan apartment. [33] In 1990, the artist returned to Asheville to paint the conversation piece, The William A. V. Cecil Family, a portrait commissioned by the present-day descendants of the Vanderbilt family for the Biltmore Mansion, which required extensive historical research. [26] [41] [27] [42]

Over the next decade, Roberts produced a body of work that American Artist called images of upper-middle-class Protestant culture and marriage of "perfect anthropological pitch" [9] in their orchestration of decorative details, spatial settings, light, gesture and motion. [23] [3] [5] In several paintings, he presented intimate, possibly confessional, glimpses of women (primarily modeled by his wife, Betsey) in moments of interacting, dressing or resting. [38] [5] Of note was the balance this work struck between specificities (e.g., capturing the textures of a creased lampshade, slip or knee) and overall effect, including the "energetic charge" [29] of the figures' sometimes uncomfortable relationships. [34] [5]

Roberts cast himself and his wife as lovers (or possibly spouses) in Paul and Caro (1992), an image inspired by a biblical tale and a novel (Shirley Hazzard's The Transit of Venus ) that explored self-exposure and concealment in marriage; the brooding work combined traditional technique with modern devices: sharply tilted, flattened space, subtly different, exaggerated perspectives, and ambiguous action to create an uneasy sense of instability. [2] [23] [30] Using a similar reclining pose inspired by the myth of Danaë, Roberts created two strongly contrasting images. In Spring, Hillsdale (1997), a woman's rumpled blouse and two looming windows (framing a laborer and a husband seemingly faced off) suggest an uncertain, possibly fraught, drama; Interior, Light (2002) reveals a hushed moment of private repose in an elegant interior dominated by a bright saffron wrap and opulent patterning. [4] [5] [3] In Interior, Evening (1997–98), Roberts created a dusky composition of sliding, unstable angles held together by the delicate poise of a woman in a slip with her back turned. [39] [34] [38]

Stone Roberts, Grand Central Terminal: An Early December Noon in the Main Concourse, Oil on linen, 74" x 76", 2009/2012. Stone Roberts Grand Central Terminal.jpg
Stone Roberts, Grand Central Terminal: An Early December Noon in the Main Concourse, Oil on linen, 74" x 76", 2009/2012.

Street and architectural scenes

In the early 2000s, Roberts turned to large street scenes, extending the cityscapes glimpsed through windows in prior work to the whole canvas. [29] Paintings like Early Autumn, Looking South (2001), A Bend in the Road (2003–4) and others captured the unplanned randomness of New York life with complex compositions of residential neighborhoods, parks and public markets filled with unposed figures he assembled from photographs. [43] [5] [15] Between 2005 and 2019, he has also turned to the streets of Rome as a subject. [37]

Roberts's exhibitions at the Museum of New York (2012) and New Britain Museum (2015) included the commissioned painting Grand Central Terminal: An Early December Noon in the Main Concourse (2009–12), his first large architectural interior, which depicted the famed terminal full of life, diverse activity and complex lighting. [44] [3] [28] He approached its multitude of figures—based on hundreds of photographs—in a Bruegel-like manner, making each one individualistic and of equal weight, highlighting the tension between anonymity and uniqueness in crowded urban spaces. [44] [3] [15] [29] His later work, The Lake in Central Park (2017), recalls Seurat's La Grande Jatte in its densely populated, detailed depiction of genteel outdoor activity and gradations of light. [11]

Still life paintings

Critic James F. Cooper described Roberts's painted still lifes in one review as "exquisitely composed and crafted crystal ware, pewter, flowers and fruit, arranged on textiles and cloths of rich fabrics and colors [that] evoke favorable comparison with the Dutch school." [26] Like those artists, he compresses objects in small interior spaces that nonetheless imply a wider universe of aesthetics, order and beauty. [1] [26] He diverges, however, from the clear allegorical intentions of old masters with works that are open-ended and sometimes eccentric in their choice of modern elements, arrangements and expression. [23] [45] [2]

Roberts's first still lifes (e.g., Mineolas Still Life, 1983) combined recurrent objects, horizontally structured divisions created by table edges and a classical faithfulness to description with dramatic approaches to composition and pictorial relationships. [23] [46] In subsequent paintings, he introduced subtle elements of whimsy and expressiveness pushing the work beyond realism: unexpected objects (e.g., a plastic kitchen timer), larger-than-life-size scaling, high-key color palettes, and differently lit elements within sometimes-overflowing compositions (e.g., Lemons, Lilies and Gourds, 1986–87; August Still Life, 1989). [23] [2] [30] Later still lifes, from Fruit, Kleist and Dahlias (1991–92) to English Forcer Still Life (2005), juxtaposed more personal objects—a paperback novel, cheap corkscrew, restaurant matchbook, eyeglasses or suspenders—that seemed to signal a greater level of self-exposure, yet remained inscrutable. [23] [2] [47]

Roberts extended that approach to a body of spare floral paintings influenced by Fantin-Latour that he initiated in the late 1980s and continued into the 2000s. [23] Between 2006 and 2017, he painted a series of more minimal set-ups of branches of various fruit tied by string like mobiles and set against simple grounds (e.g., Three Pears and Their Leaves Held by a String, 2011–12). [29]

Collections

Roberts's work belongs to the public collections of the Asheville Art Museum, [48] the Biltmore Estate (Asheville, NC), [42] de Young Museum, [20] Evansville Museum of Arts and Science, [49] Flint Institute of Arts, [50] Louis-Dreyfus Collection, [11] Metropolitan Museum of Art, [19] and New Britain Museum of American Art, [51] as well as to many private and corporate collections.

Related Research Articles

<span class="mw-page-title-main">History of painting</span>

The history of painting reaches back in time to artifacts and artwork created by pre-historic artists, and spans all cultures. It represents a continuous, though periodically disrupted, tradition from Antiquity. Across cultures, continents, and millennia, the history of painting consists of an ongoing river of creativity that continues into the 21st century. Until the early 20th century it relied primarily on representational, religious and classical motifs, after which time more purely abstract and conceptual approaches gained favor.

<span class="mw-page-title-main">Impressionism</span> 19th-century art movement

Impressionism was a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities, ordinary subject matter, unusual visual angles, and inclusion of movement as a crucial element of human perception and experience. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.

<span class="mw-page-title-main">Fernand Léger</span> French painter

Joseph Fernand Henri Léger was a French painter, sculptor, and filmmaker. In his early works he created a personal form of cubism which he gradually modified into a more figurative, populist style. His boldly simplified treatment of modern subject matter has caused him to be regarded as a forerunner of pop art.

Abstract expressionism in the United States emerged as a distinct art movement in the immediate aftermath of World War II and gained mainstream acceptance in the 1950s, a shift from the American social realism of the 1930s influenced by the Great Depression and Mexican muralists. The term was first applied to American art in 1946 by the art critic Robert Coates. Key figures in the New York School, which was the center of this movement, included such artists as Arshile Gorky, Jackson Pollock, Franz Kline, Mark Rothko, Norman Lewis, Willem de Kooning, Adolph Gottlieb, Clyfford Still, Robert Motherwell, Theodoros Stamos and Lee Krasner among others.

<span class="mw-page-title-main">Visual art of the United States</span>

Visual art of the United States or American art is visual art made in the United States or by U.S. artists. Before colonization, there were many flourishing traditions of Native American art, and where the Spanish colonized Spanish Colonial architecture and the accompanying styles in other media were quickly in place. Early colonial art on the East Coast initially relied on artists from Europe, with John White the earliest example. In the late 18th and early 19th centuries, artists primarily painted portraits, and some landscapes in a style based mainly on English painting. Furniture-makers imitating English styles and similar craftsmen were also established in the major cities, but in the English colonies, locally made pottery remained resolutely utilitarian until the 19th century, with fancy products imported.

<span class="mw-page-title-main">Jan Steen</span> 17th-century Dutch painter

Jan Havickszoon Steen was a Dutch Golden Age painter, one of the leading genre painters of the 17th century. His works are known for their psychological insight, sense of humour and abundance of colour.

<span class="mw-page-title-main">Wayne Thiebaud</span> American painter (1920–2021)

Wayne Thiebaud was an American painter known for his colorful works depicting commonplace objects—pies, cakes, lipsticks, paint cans, ice cream cones, pastries, and hot dogs—as well as for his landscapes and figure paintings. Thiebaud is regarded as one of the United States' most beloved and recognizable artists. Thiebaud is associated with the pop art movement because of his interest in objects of mass culture, although his early works, executed during the fifties and sixties, slightly predate the works of the classic pop artists. Thiebaud used heavy pigment and exaggerated colors to depict his subjects, and the well-defined shadows characteristic of advertisements were almost always included in his work.

<span class="mw-page-title-main">Lee Krasner</span> American abstract expressionist painter (1908–1984)

Lenore "Lee" Krasner was an American painter and visual artist active primarily in New York whose work has been associated with the Abstract Expressionist movement. She received her early academic training at the Women's Art School of Cooper Union, and the National Academy of Design from 1928 to 1932. Krasner's exposure to Post-Impressionism at the newly opened Museum of Modern Art in 1929 led to a sustained interest in modern art. In 1937, she enrolled in classes taught by Hans Hofmann, which led her to integrate influences of Cubism into her paintings. During the Great Depression, Krasner joined the Works Progress Administration's Federal Art Project, transitioning to war propaganda artworks during the War Services era.

<span class="mw-page-title-main">Franz Kline</span> American painter (1910–1962)

Franz Kline was an American painter. He is associated with the Abstract Expressionist movement of the 1940s and 1950s. Kline, along with other action painters like Jackson Pollock, Willem de Kooning, Robert Motherwell, John Ferren, and Lee Krasner, as well as local poets, dancers, and musicians came to be known as the informal group, the New York School. Although he explored the same innovations to painting as the other artists in this group, Kline's work is distinct in itself and has been revered since the 1950s.

<span class="mw-page-title-main">Color field</span> Art movement

Color field painting is a style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to abstract expressionism, while many of its notable early proponents were among the pioneering abstract expressionists. Color field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favor of an overall consistency of form and process. In color field painting "color is freed from objective context and becomes the subject in itself."

<span class="mw-page-title-main">Philip Guston</span> Canadian American painter, printmaker, muralist and draftsman

Philip Guston was a Canadian American painter, printmaker, muralist and draftsman. "Guston worked in a number of artistic modes, from Renaissance-inspired figuration to formally accomplished abstraction," and is now regarded as one of the "most important, powerful, and influential American painters of the last 100 years." He frequently depicted racism, antisemitism, fascism and American identity, as well as—especially in his later most cartoonish and mocking work—the banality of evil. In 2013, Guston's painting To Fellini set an auction record at Christie's when it sold for $25.8 million.

The Bay Area Figurative Movement was a mid-20th-century art movement made up of a group of artists in the San Francisco Bay Area who abandoned working in the prevailing style of Abstract Expressionism in favor of a return to figuration in painting during the 1950s and onward into the 1960s.

Harvey Dinnerstein was an American figurative artist and educator. A draftsman and painter in the realistic tradition, his work included genre paintings, contemporary narratives, complex figurative compositions, portraits, and intimate images of his family and friends.

<span class="mw-page-title-main">Western painting</span> Art produced in the Western world

The history of Western painting represents a continuous, though disrupted, tradition from antiquity until the present time. Until the mid-19th century it was primarily concerned with representational and traditional modes of production, after which time more modern, abstract and conceptual forms gained favor.

<span class="mw-page-title-main">Bob Thompson (painter)</span> American painter

Bob Thompson was an African-American figurative painter known for his bold and colorful canvases, whose compositions were influenced by the Old Masters. His art has also been described as synthesizing Baroque and Renaissance masterpieces with the jazz-influenced Abstract Expressionist movement.

<span class="mw-page-title-main">American Figurative Expressionism</span> American art movement

American Figurative Expressionism is a 20th-century visual art style or movement that first took hold in Boston, and later spread throughout the United States. Critics dating back to the origins of Expressionism have often found it hard to define. One description, however, classifies it as a Humanist philosophy, since it is human-centered and rationalist. Its formal approach to the handling of paint and space is often considered a defining feature, too, as is its radical, rather than reactionary, commitment to the figure.

<span class="mw-page-title-main">John Moore (painter)</span> American artist and painter (born 1941)

John Moore is an American contemporary realist painter. His art has focused on studio interiors, still lifes, and in his best-known work, cityscapes and the American post-industrial landscape of dilapidated mill towns and factories. He emerged in the early 1970s amid a resurgence of representational work, appearing in many surveys and critical examinations that helped define new modes of American realism. While the highly detailed nature of his work evokes that movement, it diverges from approaches such as photorealism in its social concern, painterly handling and composite compositions, which distill direct observation, sketches, memories and photographs of multiple sites and views into re-imagined but believable scenes. Curator John Stomberg wrote of these constructed worlds: "The image he creates is only real in the painting, yet all the parts do have their origins in the observable world. Therein lies the eerie potency of Moore's vision—its plausibility. He is more of a spectacular fabulist than a realist."

<span class="mw-page-title-main">Francis Cunningham (painter)</span> American painter

Francis de Lancey Cunningham Jr. is an American figurative painter known for working across three genres – nude, landscape and still-life—and for being an influential teacher. He co-founded the New Brooklyn School of Life, Painting, Drawing & Sculpture, Inc. (1980–1983), and the New York Academy of Art in 1983.

<span class="mw-page-title-main">Raymond P. Spillenger</span> American painter

Raymond P. Spillenger was an American painter associated with the New York School.

Boston Expressionism is an arts movement marked by emotional directness, dark humor, social and spiritual themes, and a tendency toward figuration strong enough that Boston Figurative Expressionism is sometimes used as an alternate term to distinguish it from abstract expressionism, with which it overlapped.

References

  1. 1 2 Cooper, James F. "Stone Roberts' Still Lifes Embody Beauty and Values," New York City Tribune, September 12, 1986.
  2. 1 2 3 4 5 6 7 8 Hurwitz, Laurie S. "Cover Artist: Stone Roberts," American Artist, April 1994, p. 68–71.
  3. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 Nicholson, Louise. "Stone Roberts: A Painter Looks Back and Moves Forward." Fine Art Connoisseur, April 2012, p. 65–71.
  4. 1 2 3 4 5 Burlingham, Michael J. "Stone Roberts: Intriguing Narratives," American Artist, Winter 2009, p. 60–67.
  5. 1 2 3 4 5 6 Morrow, Susan. Stone Roberts: Recent Paintings, New York: Salander-O'Reilly Galleries, 2004.
  6. 1 2 Brenson, Michael. "Stone Roberts," The New York Times, November 3, 1989. Retrieved October 8, 2024.
  7. ↑ Jencks, Charles. Post-modernism: The New Classicism in Art and Architecture, New York: Rizzoli International, 1987. Retrieved October 8, 2024.
  8. ↑ Brenner, Douglas. "Scenes From Everyday Life." House & Garden, April 1992, p. 82–84.
  9. 1 2 3 4 5 6 Burlingham, Michael J. "Stone Roberts," American Artist, February 2002, p. 20–27, 74.
  10. ↑ The Metropolitan Museum of Art. A New Generation of the 1980's: American Painters and Sculptors, New York: The Metropolitan Museum of Art, 1988.
  11. 1 2 3 American Art Collector. "Art Off the Easel: Stone Roberts," November 2017, p. 36–7.
  12. ↑ Drents Museum. "The American Dream," Exhibitions, 2017. Retrieved October 8, 2024.
  13. ↑ Henry, Gerrit. "Exquisite Paintings: A Paradigm for the Twenty-first Century?" in Exquisite Paintings, Orlando, FL: Orlando Museum of Art, 1991.
  14. ↑ Hyperallergic. "'Truth & Vision': 20 Contemporary Realist Painters at the Delaware Art Museum," November 14, 2016. Retrieved October 8, 2024.
  15. 1 2 3 4 5 Gladstone, Valerie. "Brueghel in New York," City Arts, August 30, 2012.
  16. 1 2 Dunne, Susan. "Stone Roberts' People-Watching 'Street Scenes' At NBMAA," The Hartford Courant, October 13, 2015.
  17. ↑ Aspen Art Museum. Private Worlds: 200 Years of American Still Life Painting, Aspen, CO: Aspen Art Museum, 1996, p. 45.
  18. ↑ Aston-Wash, Barbara. "Stories on Canvas," Knoxville News-Sentinel, March 7, 1999, p. E1, E3.
  19. 1 2 3 The Metropolitan Museum of Art. Janet, Stone Roberts, Collection. Retrieved October 8, 2024.
  20. 1 2 de Young Museum. Mark Still Life, J. Stone Roberts, Artworks. Retrieved October 8, 2024.
  21. ↑ Asheville Art Museum. Lemons, Lilies, and Gourds by J. Stone Roberts July 27, 2021. Retrieved October 8, 2024.
  22. 1 2 3 Cooper, James F. "An Interview with Stone Roberts," American Arts Quarterly, Spring/Summer 1987, p.6–8.
  23. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 Michener, Charles. Stone Roberts: Paintings and Drawings, New York: Harry N. Abrams, Inc., 1993. Retrieved October 8, 2024.
  24. 1 2 3 Jones Jr., John M. "Stone Roberts: Contemporary Artist with Old World Touch," The Greenville Sun, October 3, 1986, p. 12.
  25. ↑ Rice, Grantland. "Grantland Rice Tells Of Greatest Thrill In Years Of Watching Sport," Boston Daily Globe, April 27, 1924. Retrieved October 14, 2024.
  26. 1 2 3 4 5 6 7 Cooper, James F. "The Courage to Paint," American Arts Quarterly, Winter 1994, p. 17–18.
  27. 1 2 3 4 Wengrow, Arnold. "Stone Roberts," Asheville Citizen-Times, February 24, 2002, p.C1, 5.
  28. 1 2 New Britain Museum of American Art. "Stone Roberts: Street Scenes, Still Lifes, and Figures," Exhibitions, 2015. Retrieved October 8, 2024.
  29. 1 2 3 4 5 6 7 8 9 10 O'Hern, John. "New York Narratives," American Art Collector, June 2013, p. 46–51.
  30. 1 2 3 4 5 Guillermo, Jorge. "The Ambiguous World of Stone Roberts," Tableau Magazine, November 1993, p. 36–41.
  31. ↑ John Adams Institute. "Stone Roberts." Retrieved October 8, 2024.
  32. ↑ Jones, Helena Z. "Artist Stone Roberts: A Look at his Work in the Context of his Life, in his own Words," The Greenville Sun, March 17, 1999, p. C1¬¬3.
  33. 1 2 3 Raynor, Vivien. "Stone Roberts," The New York Times, September 12, 1986. Retrieved October 8, 2024.
  34. 1 2 3 4 5 Thomas, Michael M. "Painter Stone Roberts—By George, He's Got It!" The New York Observer, November 9, 1998, p. 1, 15.
  35. ↑ Johnson, Ken. "Stone Roberts," The New York Times, October 29, 2004, p. E27. Retrieved October 8, 2024.
  36. 1 2 Azizian, Carol A. "Boomers interpret realism," The Flint Journal, June 2, 1991.
  37. 1 2 Jackson, Robert C. and Pamela Sienna. Behind the Easel: The Unique Voices of 20 Contemporary Painters, Atglen, PA: Schiffer Publishing, 2014. Retrieved October 9, 2024.
  38. 1 2 3 4 Tucker, Carll. "Stone Roberts." The Patent Trader (November 13, 1998): p.1-2.
  39. 1 2 Stevens, Mark. "Art Transplants," New York Magazine, November 30, 1998, p. 127–28.
  40. ↑ Leigh, Catesby. "Part I: The Realists; the New Traditional Styles," Art & Antiques, Summer 2002, p. 62–69.
  41. 1 2 Biddle, Cordelia Francis. "Family Portraits," Town and Country, July 1994, p. 20.
  42. 1 2 Biltmore. "Collection Highlights," History. Retrieved October 9, 2024.
  43. ↑ Maxwell, Tanya. "Brushes with Life," Asheville Citizen-Times, September 8, 2002, p. B1, 5.
  44. 1 2 LeHay, Benjamin-Emile. "Ready to Rage on Labor Day Weekend?" The New York Observer, August 30, 2012.
  45. ↑ Wall, Donna Dorian. "Still Here After All These Years," Southern Accents, March–April 1999, p. 112–16.
  46. ↑ American Artist. "A Survey of Contemporary Still Lifes," February 1986, p. 42– 52.
  47. ↑ Berman, Anne E. "The New Old School," Traditional Home, September 2007, p. 126–33.
  48. ↑ Asheville Art Museum. J. Stone Roberts, Artists.
  49. ↑ Evansville Museum of Arts and Sciences. "Still Life with Antique Measuring Tape," Copia, Evansville Museum of Arts and Sciences, Spring 2004.
  50. ↑ Flint Institute of Art. Stone Roberts, Portrait of a Marriage, Collections. Retrieved October 8, 2024.
  51. ↑ New Britain Museum of American Art. September, West 74th, Stone Roberts, Collections. Retrieved October 8, 2024.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.