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Courtesy of American Art
Collector magazine |
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Sanctuary Oil
on Panel
Image Size 14 x 11 Framed
15 x 12 $2,100
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Anticipation Oil
on Panel
Image Size 14 x 11 Framed
15.5 x 12.5 $2,100
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Glow Oil
on Linen Mounted to Panel
Image Size 18 x 24 Framed
19.5 x 25.5 $4,500
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Intuition Oil
on Panel
Image Size 40 x 36 Framed
41.5 x 37.5 $10,500
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Through Lace Curtains Oil
on Panel
Image Size 20 x 30 Framed
21.5 x 31.5 $5,400
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Purpose Oil
on Panel
Image Size 36 x 24 Framed
37.5 x 25.5 $7,200
“Picasso once said that
no one was able to paint the air better than Balthus.
Over generations artists have often discussed the ability
to “paint the air.” By that they usually referred to the
atmosphere of a painting. A more subtle realization would
be that in every interior the air is different, and would
impact the colors that are seen, and the look of the light.
Because air and light are equally intangible they provide
an endless ever changing resource, or purpose to challenge
the painter.”
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Ascending Oil
on Panel
Image Size 36 x 24 Framed
37.5 x 25.5 $7,200
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English Breakfast Tea Oil
on Panel
Image Size 24 x 18 Framed
25.5 x 19.5 $4,200
“Still life has always been a favorite genre
for artists because of the possibilities involved in the
arrangement of objects. Within those possibilities and
the mind of the artist, lies the choice to portray a still
life as if the viewer just came upon the scene, or as if
the objects were posed for the viewer. In the work of the
master still life painter, Morandi, one can see that the
objects were posed almost as if he treated them with such
respect that he was creating ‘portraits’ of the objects.”
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Silver Still Life with Blue
Cup Oil
on Panel
Image Size 24 x 18 Framed
25.5 x 19.5 $4,200
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The Encounter Oil
on Panel
Image Size 11 x 14 Framed
12.5 x 15.5 $1,800
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Artist's Statement
Settling on a composition for
one of my room interior paintings is a progressive process. I
pick and choose the most interesting and necessary elements from
an array of photographs, often adding items from my imagination.
Light and dark is a primary focus of my painting with particular
attention to brushstroke and gradation in the darkest areas.
Though working from photographs with the aim of creating believable
paintings, I strive to bring a quiet drama to everyday scenes.
My paintings are never too photographic. In part, I aim to paint
so that the content of the image is most compelling and how the
painting was made is secondary. In a sense, the work exceeds
the medium. |
Selected
Shows
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Cape Cod Museum of Art, Dennis, MA
“Interiors, NickPatten”,
7/18/09 - 8/23/09
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Southern Vermont Arts Center, Manchester, VT,
“17th Annual
Winter Members’ Exhibition", 1/2009
"79th Annual Members Exhibition", 5/2008
By Invitation: “51st National
Fall Open Exhibition",
2007
DANFORTH MUSEUM Invitation Art Fair, Framingham, MA 1996
Newspaper & Magazine Profiles/Publications
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THE PROVINCETOWN BANNER
July 16, 2009 “Exhibit Goes Through the Looking Glass and
into Patten’s Rooms”
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DEVIANCE ART EZINE
Issue 3rd - July, 2009 “Nick Patten: Beyond the Medium”
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BERKSHIRE
HOME & STYLE
July, 2009 “Nick Patten: Master of Light & Shadow”
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SPECIAL
TO THE BERKSHIRE EAGLE
December, 2008 “American Realists are for Real”
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THE BERKSHIRES
October, 2008 “American Realists”
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BROOKLYN BIBLIO POSTING:
Art Historian & Librarian
September, 2009 “Review of Nick Patten”
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CHELSEA CLINTON
NEWS, New York NY.
February, 2008 “Getting Real, Patten’s Archaic & Unorthodox
Approach”
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BOSTON GLOBE
August, 2006 “The Cape’s Visual Landscape”
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PROVINCETOWN JOURNAL
August, 2006 “Taste of Provincetown’s East End Art Galleries”
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ART’S
VALLEY ADVOCATE
May, 2006 “Nick Patten, Spicing Up the Mundane”
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WHO’S WHO
IN AMERICA
Included in 2003, 2004, 2005, 2006, 2007 Editions
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THE CAPE
CODDER Feature Article for “Antiques & Arts”
August, 2000 “In Spite of the Light, Light is Artist Nick
Patten’s Thing”
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CAPE COD TIMES Arts Section – Best Bet August, 2000 “Evocative
Arrangements”
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THE CAPE COD CHRONICLE Feature Article July, 1999 “Nick
Patten’s Lithographs Explore The Black & White
World”
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THE CAPE COD CHRONICLE Society of American Graphic
Artists Article
June, 1999
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THE CAPE CODDER Feature Article for “Antiques & Arts”
July, 1997
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THE BOSTON GLOBE “Critics Tip”, Christine Temin
November, 1996
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MIDDLESEX NEWS Artist Profile
November, 1996
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THE CAPE CODDER Profile for Show
November, 1995
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THE CAPE COD TIMES Feature Article for “Cape
Week” Profile
October, 1994
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CAPE COD LIFE Emerging Artist Profile
August/September, 1994
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NAUSET CALENDAR
July, 1992
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Biography
Juried Shows
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Society of American Graphic Artists
69th Annual Exhibition, August 2002
NorthEast Prints 2002
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Ben Shahn Center Galleries. April
2002
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Allied Artists of America, Inc.
86th Annual Exhibition, 1999
Gold Medal of Honor
Society of American Graphic Artists
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SAGA Members Show, June
1999
Purchase Prize
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Print Club of Albany 20th National Exhibition
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Schenectady,
NY 1998 Catalogue Cover
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Audubon Artists 55th Annual Exhibition
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Salmagundi Club,
NYC, September, 1997, 1998. Eleventh Parkside National
Small Print Exhibition
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University of Wisconsin, January,
1998
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Zimmerli Art Museum
Acquisitions Catalogue, December, 1997
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Florida Printmakers
10th Annual National Print Exhibit, December, 1997. Included
in Catalogue
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Georgetown Annual International Fine Arts competition
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Frasier
Gallery, Washington, D.C., April, 1997; April, 1999
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Reviewed
in Ken Odas “Arts Newsletter”
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Barret House Galleries, Printwork
’97
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National Juried Printmaking Exhibition, July, 1997
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Print
Club of Albany, Summer Exhibition for Members
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Rennsselaerville,
NY July 1997, 1998
Print Club of Albany Purchase Prize 1998
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Silvermine Gallery
National Print Exhibition, 1998
Public Collections
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Mississippi Museum of Art,
Jackson, MS
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Cape Cod Museum of Art,
Dennis, MA
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New York Public Library
Permanent collection – Print Club of Albany
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Boston Public
Library
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Zimmerli Art Museum,
Rutgers University
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Mohawk Paper Corporation
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Rembrandt Graphic Arts
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The Critics
Say:
“An American Vermeer... Patten treats these
rooms, hallways and stairwells as monumental still lifes.
...
His
work performs a primary function of art: to reveal the everyday
beauty around us. Also like Dutch painters,
Patten patiently describes visual texture, luster and reflections.
The evocation of Vermeer comes from Patten's soft touch and
sensitivity towards ambient light.
But Vermeer is only half my designation; Patten's work is
wholly American. Architectural details, window hardware,
furniture — all of it — encapsulate our unique experience.
This is our space, and these walls enshrine our conversations,
from the Civil War on. His simple palette — earth tones,
white, black and occasional accent colors — also resonate
as traditionally American.
Against all odds, American masters like Nick Patten have
essentially reinvented painting. Art critics and academic
programs regard this movement as irrelevant. Like 19th-century
Paris, the current art establishment is convinced of its
own importance and permanence. But these New Masters are
an unforeseen strain of Postmodern avant-gardism, and from
a historical perspective, it represents the most vital development
in art today. ”
— Keith V. Shaw, The Berkshire Eagle
“Patten’s work is known for its shadows, light and
reflections — the way the sun shines in the window, the rays
bouncing off furniture casting shadows into dark recesses.
His work is alive, almost an invitation to enter the painting
and take a seat. The paintings are realistic imaginings and
reminiscent of rooms you may have visited before or just
dreamed up, but most certainly want to enter. They are comfort
zones where the imagination can wander and conjure up a magical
potion full of wonder and delightful, unknown treasures.”
— Melora B. North, The
Provincetown Banner
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