Clyde Aspevig Exhibit 2008-2009
What Aspevig admires in the work of his predecessors, he says, is the sincerity of the “emotional intensity” with which they have observed and pictorially recounted the natural world around them.
Photo Gallery – Click To Enlarge
Clyde Aspevig Exhibit
12/12/2008 – 04/13/2009
The Steamboat Art Museum was formed in December 2005 and presented it’s Opening Exhibition in the historic First National Bank building on December 23, 2006. The First National Bank Building is listed on the National Register of Historic Places and was gifted to the City of Steamboat Springs by its owner, Helen Rehder, who was a long time area rancher and amateur artist. Mrs. Rehder had a stipulation attached to her will that the building be preserved and that the building be used as a museum to promote the culture and heritage of northwestern Colorado.
Since the Opening Exhibit, which featured the works of past and present local artists, we have presented an Intaglio exhibit featuring the work of local artists and loans from local private art collections, a western art exhibit that included traditional cowboy and native American arts as well as paintings and sculpture, an international exchange with Mexico of the work of Martha Chapa, an exhibit on loan from the University of Wyoming Art Museum of the work of E.W. (Bill) Gollings, the cartoon art of Jerry Palen, Ace Reid and J.R. Williams, and exhibits of local northwestern Colorado artists.
We believe that the landscape paintings of Clyde Aspevig reflect the mission of our Museum and represent the western environment like no other living artist today. He captures a moment in time with an ability to touch the senses and make his viewer a participant in that moment. His technical skill is unrivaled, and it is with tremendous pride and excitement that Steamboat Art Museum presents this beautiful exhibit of his latest work. We hope you will join us and enjoy the journey.
One hundred years ago, at the dawn of the last century, America’s art critics called for painters to adopt the most harmonious tones possible in the rendering of landscapes, to search out and embrace the true spirit of a place and to evoke resonant, emotional responses with their canvases. These imperatives were presented in earnest and were not taken lightly. They commanded the attentions of the foremost painters of the day, many of whom explored the West, from the realist Thomas Moran to the impressionist John Twachtman.
These formalist essentials are no less crucial today, no less compelling and no less timely. They have been especially well absorbed into the vision and method of one of the West’s premier landscape painters, a Montana artist who has chosen the glories of the Colorado Rockies, the splendors of sacred places like Yellowstone and the Tetons of Wyoming and even the simplest of scenes of sunlit haystacks in a rolling ranchland pasture. These lessons comprise the mantra of veteran landscapist Clyde Aspevig.
What Aspevig admires in the work of his predecessors, he says, is the sincerity of the “emotional intensity” with which they have observed and pictorially recounted the natural world around them. He has been committed, through his fresh and spontaneous field work and the individual poignancy, chromatic balance and compositional force of his studio paintings, to resolving those components into his own expressions of emotional intensity. And it is this wedding of the spirit of place with aesthetic harmonies and personal temperament that has allowed Aspevig to command the top ranks of today’s American figurative landscape tradition.
Peter H. Hassrick, Director,
Petrie Institute of Western American Art,
Denver Art Museum