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Steve Allrich
Joan Brancale
Gavin Brooks
Vera Champlin
Ann Trainor Domingue
Ann Trainor Domingue
Rick Fleury
Garry Gilmartin
Garry Gilmartin
Logan Hagege
Michael Harrell
Joyce Johnson, sculptor
Peter Kalill
Kim Kettler
Barney Levitt
Barney Levitt
David Mesite
Alice Mongeau
Mary L. Moquin
John Murphy
Elizabeth Pratt
Jo Ann Ritter
Rosebee
Amy Sanders
Steve Sanford
Paul Schulenburg
Pharr Schulenburg
Pharr Schulenburg
Odin Kaeselau Smith
Julie Snyder
Olivier Suire Verley
Eric Emile Walker
Sarah J. Webber
Robert Wisner
 


 

Rick Fleury - Canvas
Rick Fleury - Copper
Rick Fleury video
About Rick Fleury
Rick Fleury ArtScope article
 
Rick Fleury - What the Critics Say
Rick Fleury - First Look
Rick Fleury - American Art Collector
   
   

Works on Copper

Painting on copper was popular from the mid sixteenth to mid-eighteenth centuries. Masters from Europe to South America, including Rembrandt to El Greco, found copper to be an intriguing surface on which to paint. Usually small, but incredibly rich in detail, the masterworks often used the color, reflectiveness and luminosity of the copper as an integral part of the palette. The works often depicted allegorical, mythological and sacred themes, as well as some remarkable still-lifes. The techniques used to paint on copper, however, were guarded by these masters, and, apparently not passed on, banishing the practice to what many have considered a lost art.

I stumbled upon copper as a painting surface about five years ago in my local hardware store. The surface intrigued me, and I finally came upon a “treatment” that worked. In keeping with tradition, all are engraved on the back with an artist mark. What has resulted is a body of work that continues to expand and fascinate me, and, happily, my collectors, as well. They offer a “living canvas” — with portions of raw copper peaking through which may change over time — a shiny rock today, or copper strands of sand, may patina, becoming a moss-covered rock, for example, or ruddy shoreline or seaweed. Other “treated” portions are intentionally left exposed to retain the natural beauty of the copper, and are a permanent part of the painting.

Lately, I’m working more with the luminosity of copper as I continue to explore the potentials of this material — allowing the treated copper to blend with the paint, pushing the potentials and radiance of this beautiful, smooth surface. It continues to inspire, surprise and delight me. But, in keeping with tradition, I, too, have chosen not to disclose my technique of treating the copper to receive the paint.

 
Rick Fleury
White Sands II
Oil on Copper     5 x 7     Framed 5.25 x 7.25     $350
Rick Fleury
Pamet Hills
Oil on Copper     5 x 7     Framed 5.25 x 7.25     $350
Rick Fleury
Dunes, South Truro II
Oil on Copper     5 x 7     Framed 5.25 x 7.25     $350
Rick Fleury
Evening Tide
Oil on Copper     6 x 18     Framed 6.25 x 18.25     $1,200
Rick Fleury
Copper Tide
Oil on Copper     6 x 18     Framed 6.5 x 18.5    $1,200

The Critics Say:

“stunning.”          Cape Cod Life, May 2008

“Fleury’s connection with his landscapes comes to life ... a visceral connection that can halt the mind...”          Artscope, Boston, March/April 2008

“Fleury Finds Completeness in Simplicity: ...such is the nature of nature, a continuous evolution that this artist strives to portray, unfettered by man, untouched by progress.”
The Provincetown Banner, December, 2007

“A spiritual experience”          American Art Collector, October, 2007

“Looking at the play of colors and clouds in a Fleury landscape is as refreshing as being outside on a brisk autumn day or as invigorating as watching the clouds roll in just before a storm. Fleury pares down to the essential elements to create refreshingly meditative compositions, every work a breath of fresh air.”
Artscope Magazine, Boston, August, 2007

“...an emerging artist moving at rocket speed.”          The Cape Codder, June, 2007

Rick Fleury’s Dialogue Series
Featured in American Art Collector's Savvy Collector's Preview Guide

“Fleury’s works speak of intent, deliberateness, confidence and honesty... There is nothing quaint or charming about Fleury’s work. His paintings are serious forays into the discovery of the landscape and the artist's physical and spiritual understanding of it after months and years of dedicated study.”          The Barnstable Patriot, June 9, 2006

“On the threshold of prominence.”          Artscope Magazine, Boston

“Fleury’s work is becoming highly collectible. After years of preparation, he is ready to make something special happen.”          The Arts Foundation of Cape Cod, June, 2006

“Working with oil paints on primarily large canvases, the artist subtly blends colors from the land to the horizon, minimizing division and creating a sense of unity and serenity.”
The Cape Cod Museum of Art, June, 2006

“a talent on the threshold of major accomplishment.”          
Jules Becker, South End News, Boston (2004)

 

 
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