Ralph Eugene Della-Volpe "DV"
Millbrook , NY 12545
Phone: 845-677-3017 or 302-981-6184
Born: 1923 (New Jersey)
Lived/Active: New York/New Jersey
Known for: Marine, Figural, Still Life, Coastal and marine scapes
Style(s): Contemporary, Colorist, American Impressionist
Medium(s): Oil, Pastel, Watercolor, acrylics, charcoal, pencil,
Price Information as of 05/17/2007:
Thank you for your interest in Ralph's work! Prices range from 100-300 for drawings, 800-2500 for pastels and 800 to 15,000 for oils.
Be sure to visit www.ralphdellavolpe.com
Find Ralph on Facebook: https://www.facebook.com/pages/Ralph-Della-Volpe-fine-art-painter/565956516750110
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This information is listed on his CV.
National Academy of Design, NYC
Art Student League, NYC
2007, Who’s Who in America (color)
Library of Congress, Pennell Collection
Chase Manhattan Bank, NY
New U.S. Treasury Bldg. Washington D.C.
Slater Museum, Norwich, CT
Art Students League, NYC
Wichita Art Association
AWARD & PRIZES:
Library of Congress, Wash, D.C. Purchase Award
Wichita Art Association, Kansas Purchase Award
Art Students league, NYC Purchase Award
Washington Watercolor Club Honorable Mention
Berkshire Museum Drawing Prize
Millbrook Library gallery, Millbrook NY-- one man show- summer 2013
Gregory James Galley, New Milford Ct-- spring 2013
Saxon Gallery, Southampton, New York
Studio 22 Gallery, Amenia, New York 2006
Warner Gallery, Holbrook Arts Center Millbrook NY Feb-March 2005
Abby Taylor Fine Art, Greenwich CT Sept-Oct 2004 and Oct-Nov 2011
Randal Tuttle Fine Arts, Woodbury CT Set-Oct 1996 and May-June 1993
River Gallery, Essex. Ct. Nov-Dec. 1996
50 YEAR RETROSPECTIVE, Warren Street Gallery , Hudson NY Sept-Oct 1994
O;Leary- Jacobson Gallery, Torrington Ct. Nov-Dec 1988
Canio’s, Sag Harbor , NY 1987
RETROSPECTIVE, Columbia Mus. Of Art, Columbia, SC 1975
Wolfe Street Gallery, Washington D.C. 1974 ,1977
Arts Exclusive Gallery, Simsbury, CT. 1975
Talking of Michelangelo Gall. Washington D.C. 1974
The Gallery, West Cornwall, CT 1974
Dutchess Community College,Poughkeepsie, New York
Anderson Fine Art Center, Anderson, Indiana 1975
Univer. Of Maine, Presque Isle, ME 1975
20 Years of Painting Retrospective, Bennett College Gallery, Millbrook NY 1970
BABCOCK GALLERIES, NYC, 1960,1962,1963
ARTISTS GALLERY, NY 1959
The Three Arts, Poughkeepsie, New York 1957
Lehigh University Gallery, Easton, Pa
Berkshire Museum, Pittsfield, MA
Mansfield St. College, Mansfield PA
State Univer. Of N.Y. Cobleskill, N.Y. (2 exhibits)
Centenary College for Women, Hackettstown, N.J.
Hotchkiss School, Lakeville, CT
North Dakota St Univer , Fargo, N.D.
Hibbing Community College, Bloomington, Minn.
Converse College, Spartanburg, S.C
E. Tenn State University. Johnson City ,Tenn.
FELLOWSHIP: MacDowell Art Colony, Peterboro, N.H. 1963
La Revue Moderne (Paris) 1979 (cover picture and article)
THE ART DIGEST
Reproductions in THE NEW YORK TIMES, ARTS YEARBOOK 7, AND
NEW YORK ART WORLD, 1964
ABBY TAYLOR FINE ART: 43 Greenwich Avenue,Greenwich, Ct.
GREGORY JAMES GALLERY :
How does a painting get started in the first place, you ask?
To those with an artistic temperament, everything and anything in the world can have an artistic possibility and each choses how he or she will render that possibility: the process of making a work of art varies from artist to artist. My process begins when I see something in nature that excites me; there is a strong urge to express it on canvas.
For me, the readymade or the realistic scene is not the art itself. Seeing beyond the literal details, I find qualities within that initial observation that must be explored and developed further.
I make many drawings and sketches that allow me to saturate myself with the subject or scene in an attempt to translate its essence and sensation in pictorial terms. In that process, I reveal more and more of the possibilities. The series of sketches fully evolve into a “viewpoint” that I should take to create the composition to best express the sensation. I explore the light, forms, values, relationships, colors and especially composition; for it is the composition that makes the expression in a work of art, not the subject matter.
In starting the canvas itself, large simplified areas are used to build up the composition. The interlocking shapes of these areas unite the composition and create massive movement to keep the eye moving.
By using color in an arbitrary manner, rather than the realistic hues of the observation, I have more freedom in my creative selectivity. With aesthetics playing an underlying important part of all my creative decisions, a painting will go through many changes and adjustments in order to arrive at the “correct” expression.
I have been influenced by many artists but especially Edwin Dickinson, for his sensitive tones that he found in nature, Picasso for his courage to pursue new daring ideas and Albert Pinkham Rider for his insistence on pushing a painting as far as you can- “there is no compromise”.