This May at Clars we are excited to feature a selection of modern and contemporary artwork that will undoubtably appeal to each and every collector. For fans of the Bay Area Figurative Movement, we are highlighting two works on paper by celebrated multimedia artist Joan Brown (American, 1938–1990).

Brown was born in San Francisco and continued to work in the area for her entire life, creating paintings, sculptures, and works on paper that celebrated the Bay Area as much as her own inner life. During her prolific career, Brown evolved stylistically from abstract expressionism to folk art inspired figurative painting and became involved in the highly influential Bay Area Figurative Movement. Brown was married for a period to a fellow member of the movement, Manuel Neri, who introduced her to the model Mary Julia Klimenko, Brown’s muse for the series that includes the two pieces at Clars this month. These two acrylic and charcoal compositions are titled Mary Julia #32, estimated at $8,000–$12,000, and Mary Julia #33, estimated at $8,000–$12,000, and each depicts the subject in two strikingly different settings.

Mary Julia #32 is shown alone in an austere space, likely a chapel, with two narrow stained-glass windows behind her. Her dark hair is topped with a veil that recalls medieval tastes, and her white gown indicates that it is the day of her wedding. She stares wide-eyed at the viewer, holding a champagne glass. Mary Julia #33 is dressed in a green military uniform with her arms behind her back. Next to her is a headless white sculpture, perhaps depicting herself, and a picture of two blackened figures sitting on an easel. Each work is done in Brown’s instantly recognizable faux-naif style, with her signature splashes of color. The two pair themselves with the use of lavender on the wall and windows.

Exploring Intimacy and Connection: Henrietta Berk’s Oil on Canvas Portrait of Phyllis Diebenkorn

In the illustrious realm of the Bay Area Figurative Movement, where artists sought to rekindle a connection with the human form, Henrietta Berk’s artistic prowess stood out as she delved into the intricacies of human emotion and intimacy. One of her most enigmatic works was an oil on canvas portrait of Phyllis Diebenkorn, the wife and muse of acclaimed artist Richard Diebenkorn. This captivating portrait not only immortalizes Phyllis but also offers a glimpse into the personal connections within the artistic community of the mid-20th century Bay Area.

In the 1950’s, the Bay Area Figurative Movement emerged as a reaction against the prevailing abstract expressionism. The movement emphasized figurative and representational art, and it sought to reconnect with the human form, exploring a more tangible and recognizable approach to artistic expression. Fueled by the desire to break away from abstract expressionism, artists like David Park, Wayne Thiebaud, Raimonds Staprans, James Weeks, and Richard Diebenkorn sought to reintroduce representational art — infusing it with an emotive and personal touch.

Henrietta Berk was an American painter known for her significant contributions to the Bay Area Figurative Movement. She was born in the San Francisco Bay Area and pursued her passion for art from an early age. Berk’s artistic journey was deeply intertwined with the movement and the artists who shaped it. She studied under the tutelage of Richard Diebenkorn at the California College of the Arts. She was a part of the “Bridge Generation” of the Bay Area Figurative movement, which included the artists: Nathan Oliveira, Theophilus Brown, Paul Wonner, and Frank Lobdell.

Phyllis Diebenkorn played an essential role in Richard’s life and work. As a muse and a pillar of support, she provided invaluable insight into Richard’s creative process. A frequent model in Richard’s work, she appears in many of his paintings and drawings. Through Berk’s lens, we get a glimpse of Phyllis as more than just a subject — her portrait reveals a woman of depth, grace, and secretive allure.

In Berk’s oil on canvas portrait of Phyllis, she captures an intimate and tender moment. The deft brushstrokes emphasize Phyllis’ ethereal presence. The interplay of light and shadow add a sense of mystery, inviting the viewer to delve deeper into the subject’s thoughts and emotions.

Berk’s portrait of Phyllis Diebenkorn not only serves as a testament to her artistic skill but also as a window into the lives of influential figures within the Bay Area Figurative Movement. The painting stands as a poignant reminder of the connection between art and personal relationships. Through this portrait, we are invited to explore the intimacy and emotions that underpin the relationships between artists and their muses, weaving a captivating tale of people who defined the Bay Area Figurative Movement.