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Painting images and full resume

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  1. 1. Deborah Rubin Portfolio Contents Introduction Paintings Resume
  2. 2. Three White Peonies 20 x 30 Watercolor
  3. 3. Potted Croton 40 x 76 Watercolor and Acrylic
  4. 4. White Tulips 22 x 30 Watercolor
  5. 5. Daffodils with Tulips 40 x 60 Watercolor
  6. 6. Autumn Leaves 20 x 70 Watercolor
  7. 7. Coconuts in Sunlight 40 x 60 Watercolor and Acrylic
  8. 8. Lilies with Hibiscus 40 x 40 Watercolor
  9. 9. Boats with Reflections 24 x 40 Watercolor
  10. 10. Eleven Boats 18 x 30 Watercolor
  11. 11. El Cielo 12 x 12 Gouache
  12. 12. Yellow Cab 30 x 40 Gouache and Acrylic
  13. 13. Laguna Pottery 22 x 30 Gouache
  14. 14. DEBORAH RUBIN Studio at 143 Flat Hills Rd, Amherst, Massachusetts 01002 413-253-7922 deborahrubin@comcast.net www.deborahrubin.com Bachelor of Fine Arts, University of Illinois, 1970 Graduate study in painting, University of Minnesota, 1971 Solo Exhibitions R. Michelson Galleries, Northampton, MA, 1992, 1993, 1995, 1997, 1999, 2001, 2003, 2005,2007 Coconut Grove Galleries, Miami, FL, March 21 – April 16, 2002, October 28 – November 11, 2004 Office of State Senator Stan Rosenberg, December 1 – January 15, 2003, Boston Statehouse, MA Loring Gallery, Sheffield, MA, July 19-August 9, 1997, 2000 Capricorn Galleries, Bethesda, MA, 1985, 1987, 1990, 1993, 1995 Museum of Fine Arts, Sales and Rental Gallery, Springfield, MA, “Garden Varieties” April 10–June 14, 1992 Sync Gallery, Northampton, MA, April 6–May 13, 1989 Zimmerman-Saturn Gallery, Nashville, TN, December 5, 1986–January 10, 1987 Museum of Fine Arts, Springfield, MD, September 23–October 13, 1985 Quadrum Gallery, Chestnut Hill, MA, June 11–25, 1982 W. P. A. (Washington Place Artists) Gallery, 715 Broadway, New York City, April 16–May 10, 1981 Burnett Gallery, Jones Library, Amherst, MA, June, 1980 Bibo’s Gallery, Peoria, IL, February, 1978 Springfield Art Association, Springfield, IL, November, 1977 Someplace Unique Gallery, Monticello, IL, October, 1977 Juried Exhibitons Insight Suburbia, Sage College, Albany, NY; Purdue University, West Lafayette, IN, September 7 – February 17, 2008. Masters of Watercolor, New Bedford Art Museum, New Bedford, MA, September 28 – December 31, 2006
  15. 15. Allied Artists, National Arts Club, New York City, November 9-26, 2002 American Watercolor Society, Salmagundi Club, New York City, April, 2000 Catherine Lorillard Wolfe 102nd Exhibition, National Arts Club, New York City, October 9-30, 1998, 2003, 2004 Springfield Art League National Exhibition, Springfield (MA) Museum of Art, 1985, 1988, 1994, 1995 Ridgefield Guild of Artists 11th Annual Show, Ridgefield, CT, November 18–December 4, 1988 “Works on Paper,” Berkshire Museum, Pittsfield, MA, October 9–31, 1982 New England Watercolor Society, North American Open Exhibition, Federal Reserve Bank, Boston, May October 9-30, 1998, 2003, 2004 Springfield Art League National Exhibition, Springfield (MA) Museum of Art, 1985, 1988, 1994, 1995 Ridgefield Guild of Artists 11th Annual Show, Ridgefield, CT, November 18–December 4, 1988 “Works on Paper,” Berkshire Museum, Pittsfield, MA, October 9–31, 1982 New England Watercolor Society, North American Open Exhibition, Federal Reserve Bank, Boston, May 10–June 24, 1988, 1998, 1999 36th New England Exhibition of Painting, Drawing and Sculpture, Silvermine Guild Center for the Arts, New Canaan, CT, May 25–June 21, 1985 “Elements of Landscape,” Boston University Art Gallery, Boston, November 17–December 17, 1983 “Works on Paper,” Greenfield (MA) Community College Art Gallery, November 17–December 9, 1983 National Society of Painters in Casein and Acrylic Annual Exhibitions, National Arts Club, New York City, 1982, 1983 Audubon Artists Award Winners Exhibition, Lotus Club, New York City, April 27–May 11, 1982 Audubon Artists Annual Exhibitions, National Arts Club, New York City 1980, 1981, 1982 National Academy of Design 157th Annual Exhibition, New York City, February 28–March 28, 1982 Kentucky Watercolor Society Aqueous Exhibitions, Kentucky Art Center, Louisville, KY, October 18
  16. 16. -November 21, 1980; Kentucky Historical Society, Frankfort, KY, 1981, 1986 Berkshire Art Association Exhibitions of Painting and Sculpture, Berkshire Museum, Pittsfield, MA, 1979, 1980, 1981, 1998 Butler Institute of American Art Annual Midyear Show, Youngstown, OH, 1981, 1983, 1984, 1985, 1989 Watercolor USA, Springfield Art Museum, Springfield, MO, 1981, 1987 Valley Women Artists Annual Exhibitions, Hampshire College Gallery, Amherst, MA, 1980, 1981, 1983 Danco Art Gallery Open Juried Exhibition, Northampton, MA, December 1, 1980–January 4, 1981 23rd Annual Chautauqua National Exhibition of American Art, Chautauqua, NY, June 20–July 13, 1980 Springfield Art League 61st National Exhibition, G. W. V. Smith Art Museum, Springfield, MA, April 20–May 18, 1980 1st Annual Spring Art Exhibition, Wistariahurst Museum, Holyoke, MA, April 12–May 10, 1980 Milwaukee (WI) Art Museum, Cudahy Gallery Spring Show, Milwaukee,WI, April, 1979 “Four Counties Exhibition,” Kohler Art Center, Sheboygan, WI, February–March, 1979 Limited Group Exhibitions “Blue Plate Special”, Gallery 137, Indian Orchard, MA, June 2007 “Transportation Cues”, National Association of Women Artists Gallery, New York, NY, April 2006 Art League of Marco Island, Marco Island, FL, Feb. 3- 27, 2003 Ralls Collection, Washington, D.C. July 20 – September 15, 2002 Pen and Brush Club, New York City, July 13 – 27, 2002 Springfield (MA) Museum of Fine Arts, “Still Life for the ’90s,” June 26–Sept 22, 1996 8th International Exhibition of Botanical Art and Illustration, Hunt Institute for Botanical Documentation, Carnegie Mellon University, Pittsburgh, PA, November 13, 1995 – February 28, 1996 New England Watercolor Society Members’ Show, Attleboro, MA, 1988, Boston, 1992, 1998, 1999, 2000, 2001, 2002 Kennebunkport, ME, 1993, Rockport, MA, 1995
  17. 17. “Sightlines,” Double Door Gallery, Islesboro, ME, August 23–September 3, 1994 “Getting Real: 20th Century American Realism from the Philip Desind Collection,” South Bend (IN) Regional Museum of Art, July 31–Sept 11, 1994; Fitchburg (MA) Art Museum, January 29–March 26, 1995 “Facing Reality,” Sharon Arts Center Invitational Show, Sharon, NH, June 19–July 31, 1994 “Styles, Strands, and Sequences: American Realist Paintings and Drawings from the Philip Desind Collection,” University of Florida–Gainesville, October 5–November 4, 1990; Deland (FL) Museum of Art, May 10–June 16, 1991; Tampa (FL) Museum of Art, July 12–Sept 13, 1992 “From the Garden,” R. Michelson Gallery, Amherst, MA, April 5–30, 1991 Sync Gallery, Northampton, MA, “Family and Friends,” April, 1990 Sync Selects Seven, Sync Gallery, Northampton, MA, September 15–November 15, 1988 “Watercolor Now,” Watercolor USA Honor Society Membership Exhibition, Springfield (MO) Art Museum, November 1–December 27, 1987 “Mainstream America: The Collection of Philip Desind,” The Butler Institute of American Art, Youngstown, OH, March 1–April 5, 1987 “Spring Landscapes,” Thronja Gallery, Springfield, MA, April 5 –May 3, 1986 “The Past 100 Years,” Karen Sprague/Esther Griswold Art Center, American International College, Springfield, MA, September–October, 1985 “Painting on Photographs/Paintings from Photographs,” Project Community Arts Center, Cambridge, MA, March 25–April 19, 1985 “Women Artists in the Community,” in conjunction with International Women’s Week, Herter Gallery, University of Massachusetts, Amherst, March 1–16, 1983 University of Massachusetts Student Union Art Gallery, Amherst, February 22–March 8, 1982 Zone Gallery, Springfield, MA, Valley Women Artists Group Invitational June 13–July 14, 1981 Milwaukee (WI) Art Museum, “Two-by-Two Invitational Show,” December, 1980 Lane-Blackbourn Gallery, Janesville, WI, April, 1979 Wisconsin Fine Arts Association Exhibit, Ozaukee Art Center, Cedarburg, WI, March–April, 1979 Evanston (IL) Art Center, April, 1974
  18. 18. Permanent Collections Zimmerli Art Museum, Rutgers University, New Brunswick, NJ Easthampton Savings Bank, Easthampton, MA Harvard University Graduate School of Business, Cambridge, MA Vassar College, Poughkeepsie, NY Bridgestone, USA, Nashville, TN Cabot Corporation, Boston, MA Citizens Bank, Boston, MA City Savings Bank, Pittsfield, MA PriceWaterhouseCoopers, Boston, MA Employers Mutual of Wausau, WI Farm Credit Bank of New England, Springfield, MA Fidelity Investments Management Corporation, Boston, MA Marine Bank of Milwaukee, WI Marriott Hotel Corporation Headquarters, Washington DC Massachusetts Financial Services, Boston, MA Massachusetts Mutual Life Insurance Company, Springfield, MA Merrill, Lynch, Pierce, Fenner & Smith, Springfield, MA Savings Bank Life Insurance, Woburn, MA MBNA Bank, Camden, ME Citizens Bank, Boston, MA Forbes Library, Northampton, MA Awards and Honors Artist-in-Resident, Acadia National Park, ME, May 9 – 29, 2004 Edgar A. Whitney Memorial Award, Catherine Lorillard Wolfe 107th Annual Exhibition, 2003, 2004, National
  19. 19. Arts Club, New York City Henry Gasser-Moses Worthman Memorial Award, Allied Artists Exhibition, Nov. 9 – 26th, 2002, National Arts Club, New York City Two Honorable Mentions, Pen and Brush Club, NYC, July 13 – 27, 2002 Painting used for St. Stephens Arts & Craft Festival, Coconut Grove, FL, February 2000 Bronze medal, New England Watercolor Society Members’ Show, Guild of Boston Artists, Boston, January 1999, 2000, honorable mention 2002 “Best in Show” Award, Springfield (MA) Art League 75th National Exhibition, April 10–May 15, 1994 WGBY–TV, public television in Springfield, MA, featured artist for the Annual Art Auction; Gallery 57 catalogue cover, February 11-12, 1994 The New York Art Review, 1990 Reference Book Marquis Who’s Who of American Women First Place in Pastel, Ridgefield Guild of Artists 11th Annual Show, Ridgefield, CT, November 18 - December 4, 1988 New England Watercolor Society $200 Merit Award, North American Open Exhibition, Federal Reserve Bank, Boston, May 10 - June 24, 1988 Grumbacher Inc Gold Medallion and $300 prize, Springfield (MA) Art League 66th National Exhibition, April, 1985 Member: Watercolor USA Honor Society; New England Water Color Society, National Association of Women Artists Semifinalist, Judith Selkowitz Fine Arts 1984 competition for “Realistic Works on Paper in a Series,” New York City Valley Women Artists Annual Exhibition, Hampshire College Gallery, Amherst, MA, Honorable Mention 1983 “Works on Paper,” $300 award, Berkshire Museum, Pittsfield, MA, 1982 Audubon Artists Anniversary Award of $500, National Arts Club, New York City, 1982 Springfield (MO) Art Museum Cash Award at the Watercolor USA Exhibition, 1981 Watercolor USA Traveling Exhibition, October 1981 - October 1983 Anna N Mamonas Award for Watercolor, Berkshire Art Association Exhibition, Berkshire Museum, Pittsfield, MA, 1979
  20. 20. Merit Award, Kohler Art Center, Sheboygan, WI, 1979 City Savings Bank Purchase Award, Berkshire Art Association Exhibition, Berkshire Museum, Pittsfield, MA, 1979 Membership New England Watercolor Society National Association of Women Artists Watercolor USA Bibliography Cover , New England Watershed Magazine. Summer, 2007 “Amherst Artist Shows and Tells at R. Michelson Galleries,” by Maggie Shader, Amherst Bulletin, July 1, 2005 , Daily Hampshire Gazette, July 7, 2005 Splash 8, Edited by Rachel Rubin Wolf, Northlight Books, 2004, p. 88. Ordinary Into Extraordinary . Catalog of paintings with text by Laura Holland. Marcus Printing, March 2003 “Praise the Flag and Pass the Abstract,” Washington Post, Washington, D.C., July 18, 2002 “Bloom Still on Rose” by Christina Barber, Daily Hampshire Gazette, Northampton, MA, May 29, 2001. “Artist, Potter Find Beauty in Everyday Objects” by Gloria Russell, Sunday Republican (Springfield, MA), April 20, 1997 “Where Have All the Flowers Gone?” by Bonnie Wells, Amherst (MA) Bulletin, April 11, 1997 “Fresher Than a Daisy” by Fred Contrada, Springfield (MA) Union-News, April 10, 1997 “Exhibit a lush bouquet of botanical art” by Donald Miller, Pittsburgh Post-Gazette, December 2, 1995 “Really real” by Alice Field, Keene (NH) Sentinel, June 23, 1994 “Art League’s 75th Exhibition Awash in Color, Style” by Gloria Russell, Sunday Republican (Springfield, MA), May 1, 1994 “The Art of Watercolor” by Laura Holland, in Art New England, February-March, 1994 “Flowers Drenched in Sunlight” by Christine Benvenuto, Amherst (MA) Bulletin, November 5, 1993 Valley Optimist (Northampton, MA) cover illustration, November 2, 1993 “Art Views” by Patricia Wright, Daily Hampshire Gazette (Northampton, MA),
  21. 21. April 23, 1992 “From the Garden II” by Jon Reed, Valley Optimist (Northampton, MA), with cover illustration, April 13, 1992 Styles, Strands, & Sequences: American Realist Paintings and Drawings from the Philip Desind Collection by John Ward (Gainesville: University of Florida Press, 1991), p. 18 “When Paintings of Flowers Are More Than Pretty Pictures” by Patricia Wright, Daily Hampshire Gazette (Northampton, MA), April 18, 1991 “Her Flowers Bring Gardens to Galleries” by Bruce Watson, Amherst (MA) Bulletin, March 27, 1991 American Artist magazine, selected work for article, “Preserving Our Natural Resources,” August 1990 “Making the Ordinary Look Extraordinary” by Stanley Marcus Watercolor ’89, published by American Artist Magazine “Rubin Takes More Risks With Work” by Patricia Wright, Daily Hampshire Gazette (Northampton, MA), October 26, 1988 “A Flowering of Watercolor” by Maris Nichols, Amherst (MA) Bulletin, November 23, 1988 “Arts Feature” interview with Jim Weinberg, WPLN Radio, Nashville, TN, December 8, 1986 “Gallery showcases paintings” by Julie MacPherson, Nashville Banner, December 9, 1986 “Seeing the familiar at close range” by Patricia Wright, Daily Hampshire Gazette (Northampton, MA), October 9, 1985 “‘Art Scene’ series under way at museums,” October 6, 1985 and “Four artists show varied works with theme of Spring,” by Gloria Russell, Sunday Republican (Springfield, MA), April 20, 1986 “Four Artists, Four Views” by Nora Seton, Hampshire Life, Daily Hampshire Gazette (Northampton, MA), April 23, 1983 “Women Artists Play It Safe” by Robin Karson, Springfield (MA) Daily News, July 9, 1981 “Beyond Photorealism” by Nancy Stapen, The Villager, New York City, May 7, 1981 “Women Exhibit Artworks” by Robin Karson, Springfield (MA) Daily News, April 9, 1981 “Delicate But Different” by Lee Bramwell Roberts, Milwaukee Journal, April 8, 1979
  22. 22. From the Reviews “The influence of the lush countryside is everywhere evident in her paintings, which are essentially graceful and sometimes brilliant testimonials to the expressive potential of nature. “To say that Rubin is a photorealist, a watercolorist, a painter of foliage and flowers, is to state the obvious but bypass the truth Those terms inevitably evoke myriad, sometimes deprecatory images, and in fact hold only a fragmentary relationship to the visual meanings of these paintings While Rubin’s technical proficiency recalls her photorealist concerns, the crystalline-yet-fluent quality of her images creates a depth of feeling and a strong concern with content and symbolic meaning. “Rubin chooses small moments in nature, filling her canvas with the multitudinous patterns of leaves, flowers, twigs, and berries as they respond to the pristine light of dappled forest clearings Closer viewing reveals a variety of soft and distinct focus, and varying intensities of value and hue, which in turn express a singular, carefully chosen, and fleeting vision The concentration of that focus lends an extraordinary power to small things, to that which is usually unseen and unobserved.” — Nancy Stapen, The Villager, New York City, May 7, 1981 “Deborah Rubin’s watercolors of flowers combine a spectacular large scale with brilliant light and meticulous detail In one piece a row of yellow sunflowers marches across a five-foot expanse of blue sky, with every petal, seed, stalk, and leaf illuminated by the glory of a late summer’s afternoon sun A similarly large-scale study of narcissus becomes a fireworks display of foliage - stems, stalks, and blossoms explode up and out, while the orange edges of the petals vibrate with neon intensity. The influence of photography is clear in the cropped compositions, close-up imagery, attention to detail, and conscious play with depth-of-field and focus Rubin has a flare for unusual angles that frame and thus define the picture In more than one painting she chops off the tops of blossoms to make the tangle of greenery the subject. .. The best (renderings) reveal a strong painterly eye and intention “Red Poppies” captures beautifully the sunlit glow of colored petals in exquisite detail Yet the work also has a painterly, abstract quality in the patterned blurring of the background and the stylized rendering of the shade and shadows The image is an orchestrated series of visual contrasts: sunlight pierces shade; intense red petals flame from a jungle of myriad greens; sharp lines edge against a soft blur of color; and above all, a photographic reality vies with the edited reality of the artist’s eye that picks and chooses from the scene It is clear we are dealing with a carefully composed ‘art,’ rather than randomly focused fragments of ‘nature’.” — Laura Holland, “Deborah Rubin: The Art of Watercolor,” Art New England, February/March 1994 “Deborah Rubin has made her reputation, and it is national in scope, with images of flowers In these watercolors she exchanges the traditional subtleties of poetic intimacy for the audacity of large-scale photorealism. . .
  23. 23. “The huge “Provincetown Dock” is a virtuoso performance in trompe l’oeil rendering Ropes, ladders, gulls, pilings, signs, a fishing boat alongside, ripples and sunbeams in the water all together perform the illusion of actuality Just as remarkable is the portrait of a farmhouse, “White House with Red Door,” its antique structure now fitted with cheap window screens and an air conditioner unit, with plastic bucket and a garden hose reel. . . Yet somehow or other, tug at our eyes and hearts as does these isolated bits of everyday life, they are amusing more than sentimental Rubin’s close-up focus on the character of her subject, detaching the motif from a wider panorama, gives access to a catalog of things; it serves to monumentalize the subject, and to smile at the individuality and the fortitude dreary places can suggest, or at the very abundance of stuff that crowds our field of vision, and that we take for granted.” — Gloria Russell, Sunday Republican, Reviewing “Deborah Rubin: A New Point View,” April 1997 Galleries R. Michelson Galleries, Northampton and Amherst, MA Coconut Grove Gallery, Miami, FL Cavalier Galleries, Greenwich CT, Nantucket Loring Gallery, Sheffield, MA Jacqueline Becker Art Consultant, Newton, MA