Anthony Holdsworth

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New paintings, commentary, and classes in color theory by urban landscape painter and local artist Anthony Holdsworth in Oakland, San Francisco, Italy & Mexico
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ClimateChange.3Final

Two Exhibitions Highlight the Environment

Anthony Holdsworth May 1, 2011

These exhibitions are a response to our government's censorship and misrepresentation of urgent environmental issues.

To listen to an interview conducted by Eric Klein for 'Radio Chronicles' on KPFA while I painted 'Fire over Water' , click the link below. There is a slide show of photos by Justin Beck that accompanies this interview.  The Censored Climate Change Streetscapes of Anthony Holdsworth

'Lawrence Ferlinghetti at the Trieste' 2011, oil/canvas, 30" X 45"  at Caffe Museo SFMOMA  June 2 - July 13

'The Climate Change Quartet'

and Recent SF Cityscapes

June 2 - July 13:  Caffe Museo at  SFMOMA

151 3rd St., San Francisco


My reception for this exhibition on June 2nd was attended by over 100 people. Among the many distinguished guests was Poet Lawrence Ferlinghetti who posed in front of the painting  that contains him seated at the Trieste.

ReceptionFerlinghettiFinalWeb

The Caffe and Museum are closed on Wednesdays.

The Censored Paintings

and 'Season of the Sunflower'

May 27: The Schoolhouse,

1592 Market , San Francisco

Reception Friday, May 27  7- 9 PM

The events at the Schoolhouse are now over. I will be embedding a youtube video of these events soon.

'Season of the Sunflower' & video at the Schoolhouse May 27

In New Work, Politcal commentary, san francisco, Uncategorized Tags anthony holdsworth exhibition, Caffe Museo SFMOMA, Censored paintings, climate change paintings, Eric Klein, global warming, Global Warming Paintings, John Norton Jack and Adelle Foley, Justin Beck, kpfa, Lawrence Ferlinghetti, Nina Serrano, Paintings of San Francisco, Radio Chronicles, san francisco cityscapes, the schoolhouse market street, The Trieste Cafe
1 Comment
Ceago Panorama, oil/canvas, 18" X 48", 2008

The Ceago Series: Exhibition and Events

Anthony Holdsworth August 31, 2009

My two-year painting project at Ceago Vinegarden in Nice on the shores of Clearlake, California is bearing fruit.

I have published a book entitled 'Ceago Series: paintings by Anthony Holdsworth in dialogue with Jim Fetzer'. It is available through Blurb:

Photo book

Click here to purchase the Ceago Series book on Blurb.

MAIN EXHIBITION

Sunday, October 11 at Ceago Vinegarden

The main exhibitionof the entire series, at Ceago Vinegarden on Sunday, October 11, offers the unique opportunity of enjoying the paintings on location where they were created. Several events are planned for this day.

Reception and book signing  11 am - 5 pm:  with Anthony Holdsworth and Jim Fetzer.

Lunch 12:30 - 3:30: Ceago will serve wine from their vineyards, and food by Ciao Thyme to the accompaniment of musician Sheila Fetzer for $20.

Wine Tasting & Dinner 6 pm: with Jim Fetzer and Anthony Holdsworth. The dinner will be prepared by Arminda Flores of Rancho Santiago, Michoacan, Mexico. Arminda hosts my painting groups in Mexico. She is well known in the San Francisco Bay Area for her exceptional knowledge of Mexican cuisine.

Ceago will collaborate with Arminda for this special treat, creating a memorable evening of wine, food, music and art for only $75 . By Reservation. Phone 707.274.1462 for Dinner reservations

Preview the exhibition in this video:

For directions and further information about Ceago Vinegarden go to www.ceago.com

Ceago Still Life, oil/canvas, 18" X 24", 2007

Robert Frosts' observation that "The land was ours before we were the land's."  resonated with me as a young immigrant transplanted from Europe to New England. I felt a dissonance between the suburbs and the surrounding landscape. Many of my urban landscapes deal with this dissonance.

I chose to paint  Ceago Vinegarden because of  the connection to place that Jim Fetzer has achieved on Clearlake. It derives both from his commitment to sustainable agriculture and his deep understanding of the land.

Completed six years ago the vineyards, gardens and winery were designed, planted and built by Jim. The buildings are his interpretation of Mission architecture. Substantial and  beautiful, they give the impression of having stood here for generations. The Mission flavor of the buildings and gardens is tempered by an imaginative but natural eclecticism that evokes memories of Provence and Italy.

Lavender, 18" X 24", oil/canvas, 2009

Join us on the land for a memorable experience at Ceago Vinegarden, 5115 East Highway 20, Nice, California.

Phone  707.274.1462  for Dinner reservations

In California, Italy, Mexico, New Work, Uncategorized
Old Oakland Market - April, 24"X35", oil/canvas, Anthony Holdsworth 2009

Farmers Markets: yesterday and today

Anthony Holdsworth May 3, 2009

(Read Brenda Payton's on the street commentary in the Sunday Insight Section of the SF Chronicle.)

In these recessionary times Farmers' Markets appear to be thriving. This is reassuring. Many of us look forward to their arrival in our neighborhood as a high point in the week. The sights, smells and flavors of the countryside spilling out onto concrete and asphalt. The opportunity to support small, family farmers, to pick up gardening tips. To enjoy the food stands and musicians. It's  hard to imagine a time before most of these markets existed. It wasn't so long ago.

Mercato all'aperto, Firenze, 1976

My first encounter with an outdoor farmers' market was in Florence, Italy in 1966. In those days this market occupied the piazza behind the Mercato Centrale. The local farmers had large handcarts with colorful awnings that could be unfurled on sunny days. It was a picturesque and animated scene overlooked by the pale yellow palazzi with their green shutters. The  Duomo floated in the distance.

While Florentines haggled with the farmers, Gypsy families worked the tourists or stole fruit. The merchants would intermittently chase the Gypsies or hurl rotten fruit after them.

(Remember you can click on all these images to enlarge them.)

Mercato all'aperto, Firenze

When I tasted the fruit I understood why they were stealing it. The peaches, especially, were a revelation and made me wonder what American farmers were doing wrong.

I returned to Berkeley, California in 1970. The counter culture rebellion against industrial agriculture was gaining momentum. Our block joined 'The Food Conspiracy'. Many Saturday mornings I would drive my '54 F-100 truck to the Alemany Farmer's Market in San Francisco to pick up the week's orders for more than a dozen households. Before noon, friends and neighbors would gather  in our backyard to collect their food.

The Food Conspiracy, oil/canvas 7ft X 9ft, 1973

In the mid seventies an open air market rolled up a block from my home in North Oakland. It stopped on a parking lot on Telegraph Avenue just south of Alcatraz.  I would set my up  easel there almost every week. The market consisted of two or three red trucks with white wooden panels. The panels swung up to form a wooden awning revealing shelves filled with colorful fruit and vegetables.

John's Market, oil on canvas, 1976

I'd been painting on and off near Ratto's in Old Oakland for a decade. The neighborhood was emerging from skid row, when in 1997 'Urban Village' opened the Old Oakland Farmer's Market.

My mural sized painting of the market in those days hangs permanently in the foyer of Holy Names University's Performing Arts Center. It was composed from dozens of small sketches made at the market over several months.

(Remember you can click on all these images to enlarge them.)

Market on 9th St - July, 10.5ft X 11.5ft, oil canvas, 1997, Oakland

Some of the people in the painting from far left are Richard and Byron Fong son and grandson of the famous Oakland Chinese herbalist Fong Wan. Richard died a few years ago.  Byron Fong continues the family trade as an herbalist and acupuncturist with an office on Grand Avenue opposite Children's Fairyland. The next two people are Martin Durante and his daughter Elena owners of Ratto's Delicatessen. Talking to them is Sandro Rossi founder of Caffe 817.

This last painting is an up to the moment rendition of the market. Completed May 1st of this year.

'Old Oakland Market - April', oil on canvas, 24" X 35", 2009

If you are in Oakland on a Friday morning come on down to Ninth and Washington Streets. Enjoy the market. Sip the best cappucino in town at Caffe 817 and enjoy organic, Italian food while you consider what you need to buy at Ratto's Delicatessen next door. For a more complete preview of what you will find watch my five minute video titled "Celebrating Caffe 817".

(Read Brenda Payton's on the street commentary about the creation of this painting in the Sunday Insight Section of the SF Chronicle.)

In New Work, Politcal commentary, san francisco, Uncategorized Tags Anthony Holdsworth, Brenda Payton, Cafe 817, Caffe 817, cappuccino, Cityscapes, Farmers' Markets, Firenze, Holy Names University, Italian restaurants, John's Garden, Market on 9th - St July, Mercato Centrale, oil on canvas, Old Oakland, paintings of markets, Ratto's Delicatessen, The Alcatel, The Food Conspiracy, Urban Village
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Desde Las Calles Abajo in the collection of UNEAC Santigo de Cuba

Three weeks in Cuba a Painter's Perspective

Anthony Holdsworth March 16, 2009

In 2001 the Oakland Museum of California commissioned me to create a painting of Oakland  as a gift to Oakland's sister city Santiago de Cuba. This painting 'Desde las Calles Abajo'  ('From the Streets Below') now hangs in Santiago.

The next year my wife, son and I were invited to a family wedding in Havana. We jumped at the opportunity to travel and paint in Cuba for three weeks, and to visit Santiago. To give you a taste of what it is like on the street in Cuba I have posted two paintings along with diary excerpts that relate to these paintings.

U.S. relations with Cuba are again being hotly debated. It is impossible to make sense of this debate without an understanding of our tangled history with Cuba.  One of the most qualified sources is film maker and writer Saul Landau.  His extensive series of films documenting the Cuban revolution can be found on DVD at Round World Productions. He is also syndicated with both Counterpunch.org and Progreso-weekly.com

My travels in revolutionary Nicaragua in 1984 and 1985 (See Video From Oakland to Nicaragua ) convinced me that painting on location is one of the best ways to gain an in-depth understanding of another culture. To set up an easel on a street corner and begin painting is a passport into local culture. I am not taking a picture and leaving. I am composing a painting from start to finish under the watchful eyes of the community. Everyone gathers around and shares their stories. Since I return to a location over several days I  become familiar with the texture and rhythm of daily life. .

Some of you may want to download the complete diary: Anthony Holdsworth and Beryl Landau Three Weeks in Cuba Diary' (PDF)

Morning on the Malecon, Havana, Cuba, oil/canvas, 18 x 24, 2002

Excerpt from "Three Weeks in Cuba" that relates to the painting above:

Wed  Aug 14:  On the Malecon near Hotel Deuville  I started painting a view west down the Malecon. A bunch of kids, seven to ten years old, gathered around me. While I was laying out my design, I pretended not to speak any Spanish and ignored them. A policeman hovered on the periphery. There's a policeman on nearly every block in old Havana. The kids are real toughs. They scuffled, fist fought and threw stones at one another. The officer pretty much ignored their quarrels. Finally a street cleaner with a broom and small wagon, who'd stopped to watch me, admonished them that I was trying to work and they retreated across the street. A tall, black man hung around for a long time. I noticed that he was holding a small canvas. Turns out he's a painter. He wanted to know what colors I used and was very surprised to learn I painted with black, which he never uses. He showed me his painting: a primitivist portrait of a woman in a tropical landscape.

Thurs  Aug 15:  This morning I finished-my view down the Malecon. The painter from yesterday returned this morning with a gift of a drawing. I asked him if he would pose for me for a few minutes in the colonnade.  Afterward I got his address so that I can send him a reproduction of the painting. We talked while I worked. He told me that it was his birthday today. That he was forty, and that he's a professor of mathematics, but his first love has always been painting.

The Framboyan Tree, Tivoli, Santiago de Cuba

Wed   Aug 21:  Barrio Tivoli

Anthony:  I started my second painting several blocks southeast of the historic center beyond the Escaleras de Padre Pica in the Tivoli district. There are several spectacular views here. I picked the simplest because I'm afraid of getting bogged down. Ramshackle housing high up on the right descends by steep steps, down to a street that plunges towards the bay. On the left stands a lovely red flowered framboyan tree, the national tree of Cuba. A freighter is moored in the distant slice of bay. I was immediately surrounded by kids, much better behaved than their counterparts in Havana. A handsome Rastafarian came down from the house above the steps. He was delighted to learn that I was from Oakland because he was interested in the Black Panthers. He invited me in for coffee but I demurred until tomorrow because it was nearly time for me to leave and rejoin Beryl.

Beryl (Beryl Landau) :  This was our best day so far in Santiago. Anthony went off painting after breakfast and I started another view from the balcony. Anthony returned, and we had to leave to meet the artist Pagan; so I didn't have time to finish my watercolor. Pagan took us to visit two artists who live nearby. En route to the first one, Jose Horruitiner, it started pouring and we had to wait under an overhang until it subsided...

Thurs, Aug 22

Anthony:  I feel very comfortable in Barrio Tivoli away from the center of town. I was joined by my new Rastafarian friend who lent me a pair of powerful binoculars to examine the bay. His girlfriend brought me a demitasse of sweet espresso. He told me that his two passions are painting and poetry. Whenever he needs money in Havana he paints pictures. A backup source of income are his necklaces. He told me he used to like to smoke a joint first thing in the morning followed by a cup of strong Cuban coffee. Then he would paint and string beads for hours. His friends would ask him where he found the patience, but he considered it a better activity than running in the streets and fighting. I observed that there are thousands of people in the U.S. in jail for dealing or using marijauna. He said it was the same in Cuba.. He had spent six months in jail for smoking. I put his grandmother in my painting as she stood on their balcony.

Thurs, Aug 23

Back in Bario Tivoli for a few last touches to my painting. A man sweeps the street with a large bristle broom. People with buckets loudly hawk avocados and yucca.

"La yucca! La yucca! Caliente la buena yucca!"

Men and women hurry to work, some with briefcases, from shacks so run down they'd be condemned in Oakland. A man pulls his vintage motorcycle with sidecar up against the curb below the embankment where I'm standing. He takes our a bucket of yellow paint and a brush and begins retouching his vehicle. My rastafarian friend descends from his home with another brush and lends a hand. After they've finished, the man's wife,small child in her arms, gingerly climbs into the sidecar trying to avoid contact with all the wet paint. Like most Cuban drivers who are always trying to conserve gas, they coast down the hill towards the bay.

My friend brings me a cup of coffee. The kids gather round. One of them throws a stone across the street and is gently reprimanded by adults who are watching from their balconies. A skinny old man with a hawk-like face stops and asks me where I'm from. He brightens when I say the U.S. and breaks into impeccable English. I ask him how he learned to speak so well.

"In the streets. I was a guide for American sailors. I showed them where to drink and find a good fuck. I was a boy then. Now I'm an old man."

I move up onto my friend's balcony. The three young women who had been staying as his guests all kiss him goodbye and exhort me to paint him "el mas feo," the ugliest man in the neighborhood. Taller Luis Diaz O This afternoon Pagan took us out to the Taller 'Luis Diaz 0.' in the Vista Allegre district. The administrator Idalmnis Reyes Dominguez explained that this was a hybrid organization, principally a series of small studios for more than twenty painters, sculptors, ceramicists and printmakers, but also a small gallery and cultural center. Pagan who does not have a space here avails himself of the printmaking studio.

It's surprising how many museums, galleries and artists' organizations there are in this town. UNEAC even publishes a couple of quality art magazines...

Some of you may want to download the complete diary: Anthony Holdsworth and Beryl Landau Three Weeks in Cuba Diary (PDF).

In New Work, Politcal commentary, Uncategorized Tags art, beryl landau, cuba, embargo of cuba, malecon, oakland, oakland museum of california, painting, political art, santiago de cuba, saul landau, tivoli, travel, uneac
10 Comments
Global Warming Triptych New Montgomery and Market San Francisco

Global Warming and the United States of Denial

Anthony Holdsworth February 22, 2009

My father, Dennis Holdsworth, who was one of the principle developers of airborne radar in England during the war, introduced me to the concept of global warming in the late 50's. In those days it was called 'the greenhouse effect'. The long term effects were not as clear then as they are today, but the scientific community was already aware of an impending crisis.

So with more than fifty years notice, why has the world's preeminent power still not grappled with this issue? Why have we, who have benefited the most from science and technology dragged our feet on  the issue of Global Warming?

Saul Landau tackles the issue in a hard hitting piece in the 'progresso weekly' titled 'The crisis unseen'. He asks rhetorically if "...President Obama need(s) a 'Department of Future Planning and Office of Dealing With the Crisis of Climate Change' to assemble a team of thinkers to put questions to the public and challenge lawmakers to deal with the overarching crisis that threatens the future of life?" I think the answer to this question is a resounding 'yes!'

But we need more than a government agency guiding policy at the top. In an age where science and technology are changing the fabric of life on this planet, citizens need to be educated in science and alert to the effects of our technology. Clearly science needs to be placed front and center in our public education and national discourse.

But there is another dimension.  Artists, whose role it is to open peoples eyes, need to address this issue in a way that will awaken people to the emerging reality. My Global Warming Triptych is my first effort in this direction. I'm following it up with Global Warming Triptychs for Oakland and San Jose.

In New Work, Politcal commentary, san francisco, Uncategorized Tags Add new tag, Anthony Holdsworth, climate change, global warming, Hobart Building, McKesson Building, new montgomery and Market San Francisco, oil paintings, rising waters
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About the artist

Anthony Holdsworth was born in England in 1945. He was introduced to oil painting in high school by the New England painter, Loring Coleman. Holdsworth embarked on a painting career while working as Head of Outdoor Restoration for the Uffizi Gallery in Florence, Italy after the flood of 1966. He continued his studies at the Bournemouth College of Art in England where he studied with master draftsman Samuel Rabin and color theorist Jon Fish and at the San Francisco Art Institute where he studied with Julius Hatofsky, Bruce McGaw and Fred Martin. He has shown with major galleries in Oakland, San Francisco, Sacramento and Los Angeles. He has participated in two exhibitions at the Oakland Museum. He was included in the California Cityscapes exhibition at the San Diego Museum. He was a recipient of WESTAF-NEA fellowship in 1990. His work is in corporate and private collections worldwide.

 

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Anthony Holdsworth

Dispatches from the street