 |
 |
Marybeth Rothman is known for her luminous, figurative images in encaustic.* Most recently, Rothman had a solo exhibition, of encaustic / mixed media paintings and solar plate etchings,** Artifacts of Gains and Losses at the Treasure Room Gallery in New York. Addtionally, Rothman was selected to exhibit in the Conrad Wilde Gallery Fourth Annual Encaustic Invitational in Tucson Arizona, Confluences of Culture Part lll: Collection of Small Works, East & West at the Walter Wickiser Gallery, in New York, New York, and Encaustic ‘09 Biennial at Castle Gallery in New Rochelle, New York. She is one of the featured artists in the newly published book Embracing Encaustic. She has received recognition in many New York competitions that were juried by distinguished curators including: Manual Gonzales, a Global Art Executive at JP Morgan Chase; Melanie Marino, Associate Curator at the Solomon R. Guggenheim Museum in New York; and Susan Cross, Associate Curator at the Solomon R. Guggenheim Museum. Rothman has exhibited her work in galleries throughout the US. Her home and studio are in New Jersey. "A master of her medium. These paintings are a brilliant fusion of photographs from the past with contemporary figure drawings." — Nancy di Benedetto, New York Author and Art Historian
* ENCAUSTIC is luminous, pigmented beeswax. Damar, a tree resin, is added to the beeswax to render hardness. Encaustic paint is applied in a molten form with a brush to a rigid surface. A propane torch or heat gun is used to fuse each layer. This many layered process makes all imbedded material such as drawings or photos integral to the encaustic structure as well as creating a visual depth that is unique to this medium. The use of encaustic is first noted in the 4th century B.C. painted on the hulls of Greek ships. The most well known examples of early encaustic painting are the Greco-Roman, Fayum funerary portraits, from 100 B.C. to 200 A.D. These two thousand year old encaustic paintings can still be seen in museums around the world.
|
