- Father Hugo Roses, 2 Years, 2017
- Trawden Afternoon, Evening, 2017
- Trawden, 2 Evenings, 2017
- Trawden, Afternoon, Evening, 2017
- Clouds and River, 2018
- Clouds And River, 3 Evenings, 2018
- Flowering Trees, April Mornings, 2018
- Flowering Trees, April Mornings, 2018
- Hydrangea and River, 2 Years, 2018
- Irises, 2 Evenings, 2018
- November, 2 Afternoons, 2018
- Roses and Hibiscus, 2018
- Roses and Hibiscus, August - September, 2018
- Terrace and River, 4 Winters, 2018
- Venice Dusks, 2018
- Venice, Afternoon Traffic, 2 days, 2018
- Dahlias, 3 Years, 2019
- Double Lilies, Mornings, 6 Years, 2019
- Golden Lilies, 7 Years, 2019
- High Tor, Winter Mornings, 8 Years, 2019
- Lily Beds, 4 Years, 2019
- Oriental Lilies, 2 Years, 2019
- Peonies, Afternoons, 5 Years, 2019
- Roses at Noon, 4 Years, 2019
- Winter Evenings 3 Years, 2019
- Roses, Mornings, 2 Years, 8
Martin Weinstein is a native New Yorker, who has had 28 solo exhibitions and over 40 group exhibitions at galleries and museums nationally. His work is part of numerous private and corporate collections, among them the Chase Manhattan Bank. Media coverage has included Art in America, Artes Magazine, Arts Magazine, Huffington Post, New York Daily News, NY Art Beat, and The Philadelphia Enquirer to name a few. Weinstein is the Co-chair of the friends of AIM Program of The Bronx Museum of Arts and the Co-founder of Art in General.
Having shown his work extensively, exhibitions in NYC include the Franklin Reihlman Fine Art, Walter Wickiser Gallery, Allen Gallery, Lichtundfire, Henock Gallery and Elga Wimmer PPC. Selected solo exhibitions include Witchita Art Musuem, KS; Hilstrum Museum of Art, MN; MacNider Art Museum, Mason City, IA; Visual Arts Center, Sioux Falls, SD; and the Fernbank Museum of Natural History, Atlanta GA; The Parthenon Museum, TN; Chicago Academy of Sciences, and the New York Hall of Science.
Martin Weinstein was born in New York in 1952, growing up in Westchester County. He was instructed in painting by his father, an artist who had studied with the French painter Rouault. He had a powerful early experience when he spent two days with his father at the British Museum, looking at Turner watercolors. Weinstein's own work in watercolor began as a youth, and he has continued to make small works while traveling ever since. He studied painting at the Tyler School of Art, graduating with a BFA in 1974. After school he continued to paint abstractly, but always with layered elements. The shift to representation started when he felt frustrated by wanting to change what lay beneath the upper layers. He also took note of the painted cells used in cartoon animation, as they could be used above a static or changing background.
The landscape as a sole and specific subject matter has been a source of inspiration since the 1500s. With so many variations of landscape painting created over several hundred years there remain fewer and fewer stones left to overturn. What Martin Weinstein has done is quite genius: by breaking his compositions down to three or four floating layers of painted elements on clear acrylic sheet, surfaces that can span days, months and even years, he has brought in a very palpable sense of the passage of time.
In the 2000s, Weinstein increasingly painted landscapes and flowers on a small scale. He began to focus on larger works with multiple, layered images of his wife Teresa Liszka in her garden throughout the changing seasons. He works on all but the most frigid winter days on site and outdoors. When painting, he might occasionally and subtly distort what he sees by bending a horizon line or tilting an axis here and there. However, for the most part, he paints what he sees in the land. By overlapping layers of clear, frosted acrylic to paint upon, Weinstein can stretch the visual elements not just in time but in space, so a work will read differently in its level of abstraction from angle to angle and moment to moment. These shifting visual transitions are key to understanding the artist's subject matter. Each edge of a flower petal, every cluster or windswept leaf and each ray of sunlight can be elements that both blend and stand apart as nature observed travels through the air like a refreshing breeze or a sudden apparition. In a way, this is more of how we actually see the world around us, how we focus and process information and how we judge perspective in movement from detail to detail and site to site.
Cross Contemporary Partners Inaugural Exhibition Part IA Virtual Gallery of Contemporary Art by 11 Artists 1 Jul 2020 - 31 Jul 2021Cross Contemporary Partners launches a new virtual art exhibition space dedicated to digital representation of artwork on the internet. The Cross Contemporary Partners Inaugural Exhibition Part I presents eleven established artists whose distinguished careers span decades. The artists: Anne Hieronymus , Sol Hill , Kaethe Kauffman , Victoria Lowe ,...
Friswell, Richard. "Connecticut's Housatonic Museum of Art with Eclectic Landscape Exhibition: New Perspectives", Artes Magazine, March 11, 2018.
Hrbacek, Mary. "Elga Wimmer PCC with "Resonance and Memory: The Essense of Landscape," Artes Magazine, January 7, 2015.
Hrbacek, Mary. "Elga Wimmer PCC with "Resonance and Memory: The Essense of Landscape," NY Art Beat, December 31, 2014.
Shull, Chris. "Time Passages," The Wichita Eagle, Friday October 21, 2005.
"WAM Opens Illusion and Certainty," Wichita Times, River City Review, November-December 2005.
"WAM to Feature Paintings of Martin Weinstein," WestSide Story, Wichita, November 2005.
Temple, Georgia. "Second-generation Artist Shows his 'Layered' Work," Midland Reporter-Telegram, Sunday August 1. Cover Arts & Entertainment, Section p. 1F
Bostick, Alan. "The Illusion of Time," The Tennessean, Sunday, March 7.
Vine, Richard. Time Framed: Martin Weinstein's Recent Landscapes, Exhibition catalogue, May 2003-2005, Illusion and Certainty: Martin Weinstein, paintings
Walls, Michael. Martin Weinstein: Seeing Beauty, Conceiving A Response, Exhibition catalogue, May 2003-2005, Illusion and Certainty: Martin Weinstein, paintings
Nahas, Dominque. Moment by Moment: Paintings of Martin Weinstein, Brochure.
Henry, Gerrit. "Martin Weinstein at MyungSook Lee", Art in America, May.
Tatransky, Valantin. "Natural History", Arts Magazine, October.
Donahoe, Victoria. "N.Y. Artist Weinstein's Paintings at College",
The Philadelphia Enquirer, October 10.
Hornaday, Ann. "The Industrial Evolution", The New York Daily News, March 16.
Kuryluk, Ewa. Vision and Memory: Martin Weinstein's Pictorial Complexity, Exhibition catalogue, September 30 - October 30, 1994. Mutable Perception: Martin Weinstein Paintings and Drawings 1989 - 1994.
Watkins, Eileen. "Museum Offers Spectacular Exhibition Focusing on the Flower as Eternal Moment", The Sunday Star Ledger, July 4.
Handy, Ellen. "Memory Images," Arts Magazine, May.
Kuryluk, Ewa. Time Revisited and Regained,
Exhibition catalogue published by The Scottish Arts Council
Martin Weinstein: Beyond a DayMartin Weinstein's Solo Exhibition at Lichtundfire in NYC MArch 6-31, 2019 September 3, 2020An interview with Martin Weinstein during the opening of his solo exhibition at LICHTUNDFIRE March 6, 2019 as part of a series: New York City Gallery Openings (introduced by curator Robert Curcio)
Martin Weinstein's Virtual Museum Exhibition
With so many variations of landscape painting created over several hundred years, there remain fewer and fewer stones left to overturn. What Martin Weinstein has done with this most ubiquitous type is quite genius. By breaking his compositions down to three or four floating layers of painted elements, surfaces that can span days, months, and even years, Weinstein has brought in a very specific sense of time. Visually speaking, by overlapping layers of clear, frosted acrylic to paint upon, Weinstein can stretch the visual elements not just in time but in space, so a work will read differently in its level of abstraction from angle to angle and moment to moment. These shifting visual transitions are key to understanding the artist's work and how he uniquely references the land around him through a distinctive and varied filter. Each edge of a flower petal, every cluster or windswept leaf, and each ray of sunlight can be elements that both blend and stand apart as nature observed travels through the air like a refreshing breeze or a sudden apparition. In a way, this is more of how we actually see the world around us, how we focus and process information, and how we judge perspective in movement from detail to detail and site to site.