Friday, March 20, 2015

Autumn Daze in Boerne


   “Autumn Daze” is an oil painting created by Boerne artist Sidney Sinclair that epitomizes the serenity of the golden sun’s light as it envelopes the landscape in lingering warmth.  Sinclair’s landscapes evolve from within-they are a creative exercise in expressing sentiment towards appreciating and participating in the wonderment of life’s beauty.  

The sky is vivid with a radiant glow that is gently reflected back on the water’s surface peacefully intermingling with the sky’s delicate blues. 

  The dry grasses and the foliage deeply immersed in shadow seem to exist in solemnity, a stillness that quietly is witnessing the sun gently making its exit from the landscape.  There is languidness in the air, a temperate daze, as nature prepares for the slumber of winter.

© Katherine Shevchenko , Art Consultant/Framing Designer

Saturday, March 14, 2015

TONIGHT!!! - Event not to be Missed - Thomas Arvid in the Boerne Gallery- Meet & Greet

An Art Collector  and Thomas Arvid at Flemings last night for our VIP kick-off Dinner.  Thomas will be in the gallery in Boerne endorsing, dedicating and signing artwork for you all!!!!

Come and Meet the artist and visit with the JR Mooney Gallery Staff to learn more about Thomas Arvid's internationally known photo-realistic wine paintings.

Call 830-816-5106 for more details, directions and inquiries. 


Here is a Sneak Peek at the spotlight

exhibition of Thomas Arvid at the

Boerne Gallery location this weekend.

J.R. Mooney Gallery's Arvid

exhibition catalog!

Click to Read Online
Click to Read Online

This is an event not to be


Thomas Arvid will be in

the Gallery on Saturday

night for a 


with our Gallery Patrons!!


Wednesday, March 11, 2015

THOMAS ARVID This weekend in Boerne with Artist for a Meet and Greet

Here is a Sneak Peek at the spotlight

exhibition of Thomas Arvid at the

Boerne Gallery location this weekend.

J.R. Mooney Gallery's Arvid

exhibition catalog!

Click to Read Online
Click to Read Online

This is an event not to be


Thomas Arvid will be in

the Gallery on Saturday

night for a 


with our Gallery Patrons!!


Saturday, March 7, 2015

New Thomas Arvid Art Catalog

Here is a preview of Thomas Arvid's exhibition catalog for his upcoming exhibition at J.R. Mooney Galleries, Boerne.

His spotlight hanging opens Saturday, March 14, 2015 from 4 pm - 8 pm

The full catalog can be viewed at:

Artist Reproductions explained in the new edition of "Mooney Makes Sense" in the current Boerne Business Monthly Magazine

Check out the newest edition of 

In this month's edition of our column, 

"Mooney Makes Sense" we give a simple

 summary of the breakdown of artist 

reproductions, giclees and simple 

abbreviations you see when shopping the 

current art market.

Read the full article at:

Prints, Giclees and Reproductions
By: Gabriel Diego Delgado

With the rapidly changing technologies in electronics, medicine, the auto industries, it is no surprise that technology in making changes in the world of artist reproductions as well.
The term giclee is now the norm in high quality reproductions.   

 “Gilcee is a neologism coined in 1991 by printmaker Jack Duganne for fine art digital prints made on inkjet printers.  It is based on the French word gicleur, which means "nozzle" (the verb form gicler means ‘to squirt, spurt, or spray’)”.

There has been some speculation on artist reproductions, in regards to needs, integrity, price, credibility and other issues that might deter the type of reproductions should we be investing in.
As a high quality ‘print’ of an original painting or work of art, it opens up the possibility of a greater audience with a lower price point. However with that affordability comes the antithesis of the unique artwork. No longer do you have one original, but now one original and many copies, and that potentially can turn clients off.

As you shop limited edition giclee reproductions, you want to make sure you know what you are buying and there are a few things you need to look for.  A Certificate of Authenticity will be provided by the publishing company verifying exactly what the print is.   Title of the artwork, signature of the artist, the edition number, total edition in set, and date of publication should all be found on this form.  The total edition number will let you know how many are going to be printed of this image, and gives good indication on how available the image is on the open art market.

  Now let’s decode some of the abbreviations you might see on the certificate as well as the front of the print itself. The common abbreviations are SN, AP, and PP.  The SN means “Signed and Numbered”, meaning the print should have a signature of the artist on the front of the image with a clear numerical edition number.  The AP means “Artist Proof”, meaning even before the numbered editions are set to roll out from the publisher, the artist themselves see the proofs and sign off on the color registrations; essentially saying, ‘Yes these colors are true to my original artwork and I approve this set of prints’. Sometimes you see limited editions of AP series; this signifies that the artist could have proofed each color as the printer calibrated the saturations.  In larger editions, the publisher will do smaller lots of printing, stop, readjust the inks, replace cartridges etc. It should be industry standard that when any change is made during the printing process like this, the artist will come back and look over the next set of prints to verify the colors again after the inks have been changed and the levels adjusted, thus creating editions of AP prints. The PP means “Printers Proof”, meaning, the master printer for the publishing company will also verify the print quality and color registrations after the initial proof by the Artist. The printer will compare the print quality to the original as well as the Artist Proof and sign off on color matches and print quality.

Alternatives to traditional giclees are the “Enhanced Giclees”, which is where the artist or an artist assistant has ‘painted’ on top of the print; often highlighting a section or area of the reproduction creating accents.  This increases the price of the artwork as the artist has physically touched the artwork; adding value. However, be knowledgeable as enhancements can be made by the artist assistants, often referred to as “Master Detailers”.  These professionals have been trusted and often trained by the artist to paint in a way reflective of the artist themselves. If the demand for the artwork is present, Master Detailers spread out and assigned to territories.

From an artist point of view, we need to look at reproductions from a business perspective. There is a lot of discussion around the need to do prints. It is in my personal opinion, editions should be made only if the artwork is in demand and the supply and demand factor favors multiple editions of one image. Otherwise it becomes an impulse buy, a gift idea and retail commodity, leaving the realm of fine art all together.

If the artist is making a reproduction of an affordable painting, investing financial assets in reproductions, the cost of production could overshadow the cost of the original painting, leaving the artist underwater financially if the paintings as well as the prints are not selling. If an artist makes a reproduction of an already sold item, the professional opinion is that the artist needs to contact the initial buyer of the original and inform them of the potential editions of the image.  If the original is not sold and the artist is considering editions, it is recommended they evaluate interest. Is the painting under a certain price point in the market, and if you introduce prints of the work, will the availability of the print deter the selling of the original, I.E. the painting is under $500.00 and the prints range from $50.00 to $100.00.

For a beginning collector, the giclee prints are a great way to start a great collect. The technology offers fade resistant inks, non-acidic materials and a shelf life of over 125 years. Now go out there in that vast art world more knowledgeable and make some educated art purchases.

*A selection of World Renowned Artist, Thomas Arvid giclees and original artworks will be featured at the J.R. Mooney Galleries, Boerne for March 14, 2015 Second Saturday. Call 830-816-5106 for details. 

Friday, March 6, 2015

Aldo Luongo artist article in the new edition of Plumage-TX magazine

Read the article online and see it in the newest edition of Plumage-TX Magazine at:

The Forgotten Portrait Paintings of Jose Vives-Atsara in Plumage-TX Magazine

View and read the Forgotten Portraits of Jose Vives-Atsara article in the newest edition of Plumage-TX Magazine at:

Artist Sidney Sinclair artist article in Plumage-TX magazine

The article on Boerne artist, Sidney Sinclair can be read online in the newest edition of Plumage-TX magazine online at:

Thomas Arvid Article in the premier edition of Plumage-TX magazine

This article can be found in the newest edition of Plumage-TX Magazine 

Tuesday, March 3, 2015

Sip & Sign with Thomas Arvid

Thomas Arvid
An Artistic Sommelier

The Texas Hill Country boasts over 42 wineries with an eclectic mix of palettes and vintages, so it is no wonder why Atlanta based, Photo-Realism Wine painter Thomas Arvid feels right at home when visiting the San Antonio / Hill Country area.  March 13 – 15, 2015 marked the two year return of the internationally acclaimed painter to South Texas region with patrons treated to a VIP private preview dinner at Flemings in the Quarry, a Second Saturday Art & Wine event solo spotlight exhibition of giclee works on canvas that included four originals at J.R. Mooney Galleries in Boerne.

Thomas Arvid is a self-taught artist with a signature angular perspective and compositional completeness- glass, bottle, and corkscrew.  Arvid proceeds with deliberate off-the-canvas slants that seem to stunt the elements in a seemingly haphazard tipsy aesthetic-an Arvid tilted room effect.

Larger than life wine bottles, corks, and other bar accoutrements can be seen in his distinguished downward still-life perspectives. Picture-perfect painterly renditions capture the hyperrealism studio set-ups that spotlight the reflections on the wine glass, the shimmer of the liquid and metallic silver finishes.  Arvid’s obsessively seamless ovals, curves, and ellipses portray the physicalities of these still-lives better than photographs ever could.

Over the past few years Thomas Arvid has celebrated his first museum exhibition, "Arvid: Reflecting the Good Life," at the Marietta Cobb Museum of Art in Marietta, Georgia; in addition to boosting a 5 year waiting list on original commissioned oil paintings.  Prices on oils on canvas can reach $120,000 to $150,000. Understandably, he works wherever he can, often doing watercolor sketches and paintings on the plane flights as he travels back and forth from California and other wine sponsored events throughout the country.

A newer original titled: “Polishing the Silver” is a Mixed Media Proof on canvas featuring the Silver Oak label, measuring 31 x 60 inches and valued at $10,000.00. Zach Swangstu, Assistant Sales Manager at Thomas Arvid Fine Art, Inc. explains, “A mixed media proof is a giclee on canvas that Thomas has put his brush to, customizing the work of art and in doing so creating a unique masterpiece.
“Polishing the Silver” is a piece that only exists in a few homes across the country and every one of them are different. It’s considered a mixed media because Thomas is using a giclee to start and applies oil to the piece, using different mediums to complete the overall work of art.  As opposed to the $125,000 collectors are paying for Thom’s original oil on canvas masterpieces, a mixed media proof valued at $10,000 is attractively priced and still holds the long-term value and collectability as an original, perfect for the Arvid collector who is ready to take their first step into the world of originals.” 
Thomas Arvid’s artwork is a contemporary throwback and “tip of the hat” to what Arvid passionately explains as an artistic gesture-inspired by the heyday of hand tinting experimentations of Black and White photography.

Deliberate in his composition, gestural mark-making and subtle but striking color highlights, Arvid knows how to allow the viewer to enter into his lyrically liquor-esque world of art. The multi-media aspects of the newly acquired untitled original can be seen in Arvid’s calculated assertion to reveal the pencil and charcoal layers that would ordinarily be covered in the “Photo-Realist” venture of the painting process. Arvid comments on this decision as a way to express and illustrate a “sure-handedness” of technique and confidence of artistic quality.

Like an artistic Spartan Warrior, Arvid is in proper form, being sure to formulate interrupted lines, skewed angles, and layered perspectives to harmonize the overall gestalt of the work.

Overall and obsessively obvious in his artistic grandeur, Arvid carefully crafts paintings with intervallic lines and non-conforming compositional esplanades; avenues and visual clues that present the viewer with an ability to feel as though they are joining the artist in his own studio, house or dinner table.  He wants the audience to have a sense they can metaphysically reach into his painting and pick up the glass and drink the wine or rotate the bottle of wine to read the label; all without feeling self-conscious about an underlying “do not touch” taboo in this often misconstrued and misconceived elitist realm of art and wine.

© Gabriel Diego Delgado

Saturday, February 28, 2015

Mothers and Children of Jose Vives-Atsara

Before the iconic landscape paintings of Brackenridge Park and the Texas Missions, highly stylized palette knife floral, and the animated art residency lecture series at Incarnate Word College, his powerful and political client base drove his international reputation.  Early in his artistic career and living in several countries including Spain, Venezuela, and Mexico City, Jose Vives-Atsara struggled financially.  With a charismatic and colorful personality, and a personal drive to economically care for his growing family, Vives-Atsara befriended many.  In the varied environments he found himself, he discovered an eclectic array of visual stimulus.  
Living in Mexico City, Mexico from 1949-1956, he found inspiration in the people, the culture, and the aura of the open air markets. 

Here, Vives-Atsara worked on a series of portraits in the mid 1950’s. Although he was a traditional based artist, painting landscapes, still-lifes and florals; his representations were seemingly different. The portraits took on a more raw quality, a less refined appeal, giving grace to the constant challenges of a landscape painter to project a portrait painting. None- the- less, Vives-Atsara continued to explore this genre and was unrelenting in his need to capture the essence of the people he loved and pride for this new country he called home.  However, not as refined as his Texas based paintings, the portraits give us a chance to see how the shortcomings of an artist yearning to paint people produce such dynamic, almost naïve portraitures.   Although his portraits do not demand the $20,000- $60,000 prices his large landscapes and floral receive.  They are a great addition to any collection.  They are a stable art market investment and have continued appreciation value.
Two paintings that are now only beginning to gain buzz in the contemporary social norms of woman’s right to choose, pay equality, public breastfeeding and other re-evaluations of gender based norms are Vives-Atsara’s Mother and Child and Madre Indigena.

Vives-Atsara’s motherly depictions are spot-on with a glowing aura of elegance; as public feedings, no less controversial, move within the women’s right to choose and her child rearing choices and actions in the public sector.

Mother and Child is a side profile portrait of a woman with her child. While facing to the left, the woman’s angle directs us down to the bundled child.  The slope of the vegetation and agave plants in the background align with the sweeping features of woman’s body, exposed flesh-nursing her young. We are directed along with visual route down through the pale blue coverings of the baby’s hood and jacket; pausing at the closed eyes.  We can sense the calming of the innocent child during the sacred feeding and natural nourishment.

Madre Indigena, is a celebration of motherhood, but with an opposite compositional angle to Mother and Child. A woman and her baby share an embrace that illustrates the seemingly mundane daily routines of two individuals, caught up in their own symbiotic relationship - locked together for life and death importance.  In the painting we see and acknowledge one needing the other for life, for substance; a nurturing of spiritual and metaphysical essence.  We as observers see the endearing grin of the mother, looking down to the child; reminiscent of a religious experience . Vives-Atsara’s setting, backdrop and environment in this painting speak to the proletariat, the worker in the field, the peasant and the Mercado worker; a public display of endearment that meets with mixed reactions depending on the viewing geography.

While both can lay the groundwork for discussion, each maintains and depicts the underlying womanly obligations, a chastise-able action by some, but painted with undeterred nobility.

Take time to appreciate Jose Vives-Atsara’s portrait series with an open mind.  An artist’s desire to create knows no boundaries.  When he found inspiration in what he saw, Vives-Atsara took that to the studio.  Enchanted with the people and their ethnic diversity, he painted broad noses, thick hair, utilitarian garb, and strove to portray the social hierarchy.  In his paintings, we see aspects of indigenous facial characteristics of these nameless people, but also familiar traits of our own Texas cultures.  Art is Universal, and in these rare portraits, Jose Vives-Atsara gives us a chance to see that.

© Gabriel Diego Delgado/ J.R. Mooney Galleries

Wednesday, February 25, 2015

The Hawk and Artist, Aldo Luongo

Aldo Luongo  and “The Hawk”

J.R. Mooney Galleries, Boerne is proud to present three new giclées by Argentinean artist Aldo Luongo.  All three feature the white wiry haired character known as “The Hawk,” who was created in tribute to his father, Rafael Luongo’s memory, who passed away sometime in the 1970’s. 

The artist and his own father had a strained relationship while he was alive, which might have led to some unresolved issues needing to be addressed and hence the necessity of the conception of “The Hawk.”  His father’s most iconic and defining traits were the impetus to breathe life into this character upon the canvas. He is also an envisioning of what his father would have been like had he been able to live out his remaining years into his seventies and beyond. 

Over time, “The Hawk” started to epitomize more of an ideal character, a man that is charismatic, jovial and living the life well lived, and eventually becoming Luongo’s own design of how he would like to be.  In Luongo’s own words, “he has only 10 or 15 minutes left on the clock of life…but he’s living life to the fullest and going out in style…I want to be like him in my twilight years.” 

“The Hawk” serves as a reminder in the artist’s paintings to enjoy all of life’s pleasures, as they are fleeting.  The Hawk usually dominates the picture plane and is the focal point of the composition; wherever he is, he is usually displaying a vivacious grin and is rarely without a glass of spirits in his hand.  He is living on his own terms and beckoning the viewer to do so as well.     

Each reproduction immaculately exhibits Luongo’s masterful use of gestural brushwork and shows why he has been a successful award winning artist for four decades.  He is the consummate modern day Post-Impressionist whose career has been punctuated with splendid highlights and notable distinctions.  He has had the luminous esteem of being an official artist for the World Cup Games and Olympics for Summer 1988, Summer 1996, and Winter 2002.  

The White House has commissioned him twice to paint wooden eggs for their official Easter Egg Hunt; these creations eventually became part of the Smithsonian Institute’s permanent collection.  While his originals may demand upwards to tens of thousands of dollars; these high quality giclée reproductions are an accessible opportunity for the collector to acquire some of Luongo’s artistry.   


-©Katherine Shevchenko Art Consultant/Framing Designer, Boerne

For viewing and purchase inquiries call or visit J.R. Mooney Gallery, Boerne.
305 South Main Street, Suite 400
Boerne, TX 78006


Enlightened and Reaching For the Sky

Enlightened and Reaching For the Sky

    “If I can share the beauty and what I feel inside about it to somebody else through my art, then that’s a success.”

-Sidney Sinclair

  In anticipation of a new year of art making, Boerne artist Sidney Sinclair needed to define and pinpoint a thematic essence she would channel into her paintings for her “Dyad” Exhibition with fellow artist Bill Scheidt.  Known for her traditional landscapes and abstract crosses, she pondered what direction she would take and had an epiphany about merging abstraction elements into her traditional landscapes, which became one of the unifying cruxes of her current body of work.  Sinclair clarifies, 

“I want to see if I can mix them a little bit…have some abstraction within some of the representational pieces.  I’m not sure how that’s going to work out until I get in there and try, but I’ve started.”  

The abstract painting Enlightened and the landscape Reaching for the Sky are two paintings that on the surface appear different in so many ways, but they are forged in tandem with emotive elements of color and composition that are used to impart to the viewer the extraordinariness of life.           
  Enlightened is an abstract cross painting that is a detour from her traditional color palette that she utilized previously, which inhabited a golden realm of celestial yellows and earthy tones with hint of other rainbow hues.  This painting enraptures one in the cooler spectrum of deep tones of violet and purple and swaths of intense magenta. The off center composition of the cross has a presence, with its textural fragments dissipating into the background and creating an ethereal ambiguity.  

There are metallic accents of gold that cause the eye to travel around the picture plane,
highlighting the defragmentation of this cross as its boundaries become less defined by the textural applications.   Regarding the different approaches to execution between abstract and traditional, “The piece takes over and it evolves into its own self and so, that part, you really can’t explain.”  
Reaching for the Sky, a landscape oil painted in early 2015, is in a traditional, representational style that depicts a peaceful embankment of trees and a river that is gently meandering through.  In this vertically oriented landscape, the sky is the main player in the composition, its dominating presence limitless, with clouds that are loftily present in the expanse of muted blues and subtle periwinkle.  They are levitating delicately, vibrating with warm yellows and subtle accents of rose pinks.  At once, one feels kinship with this peaceful drama and is drawn into the painting.  Gazing at the clouds one begins to see and feel the similarities between the two paintings.

     Unfettered, the clouds are columns of vaporous hues that reach skyward, reflecting the glory of the hidden sun.  Within Enlightened, there is an immediacy of an emotional eternity expressed by the dynamic vivid colors that are also omnipresent in the tranquil vista of Reaching for the Sky

 There is a diaphanous palette that is painted in a more intuitive manner within the clouds in Sinclair’s sky.  These clouds do not reflect the light of an objective reality, but more of the ramifications of the internal psyche; this is where the intersection of the ‘old and new’ has subtly dawned.  Even though Sinclair has just begun this new era of experimentation, the core tenet remains the same, despite the genre of the piece: 

“-Any kind of art that I do, I’m going to be expressing myself, what I see and feel that just surrounds me and hope that I can impart that to someone that’s looking at it.”
Genuinely, Sinclair’s objective aims to communicate the shared human experience, the
embodiment of the “specialness of life” no matter what genre she is employing at the moment, and that is what unites her work in spirit.  As this journey of experimentation unfolds she is striving to bridge her two distinct styles in an attempt to forge ahead, to connect with her audience her vision of the world as she sees it.

©Katherine Shevchenko, 
Art Consultant/Framing Designer
-J.R. Mooney Galleries, Boerne TX
Feb. 2015

 See Sidney Sinclair’s work in person, on view at J.R. Mooney Galleries of Fine Art, Boerne  TX.