Robert Andriulli
|
|
Biography
Robert Andriulli’s painterly realist landscapes are created on location in
south-central Pennsylvania and the central coast of Maine. The artist was born
in Paterson, New Jersey, in 1948 and now resides in Millersville, Pennsylvania.
He received a B.A. from William Paterson College in New Jersey in 1975 and a
M.F.A. in Painting from Penn State University in 1978; he also attended summer
fellowship programs at Yale University and Oxbow School of Art in Michigan. He
is currently Professor of Art at Millersville University and has
formerly taught at Bowdoin College in Maine, Seton Hall University of New Jersey
and at Penn State in University Park.
Mr. Andriulli has an extensive
exhibition record over the past twenty years, including numerous shows in Maine,
New York, New Jersey, Pennsylvania and six solo shows at Steven Scott Gallery,
which has represented the artist since 1993.
Among his many awards he
has earned fellowship grants from the National Endowment for the Arts in 1987
and the New Jersey State Council on the Arts in 1979 and 1985. Robert has also
received Artist-in-Residence Fellowships at Yaddo Foundation and the Millay
Colony for the Arts, both in New York State, as well as the Fine Arts Work
Center in Provincetown, Massachusetts and the Virginia Center for the Creative
Arts in Sweet Briar.
His work is represented in numerous corporate and
private collections and has been exhibited in solo shows at the Eckert Art Gallery, Millersville University, PA (2016, with color catalog), Academy Art Museum, Easton, MD (2001),
Lancaster Museum of Art (1998) and the Westmoreland Museum of Art (1988) in Pennsylvania, among
many others. He has participated in numerous group museum shows including the
Ogunquit Museum of Art in Maine, the University of Maine in Augusta, Penn State
University and the Woodmere Art Museum in Philadelphia.
Andriulli's paintings are included in the
permanent museum
collections of the Academy Art Museum, Easton, MD;
Bates College Museum
of Art, Lewiston, ME; Guilford College Museum of Art;
Lancaster Museum
of Art, PA; Muscarelle Museum of Art, College of
William and Mary,
Williamsburg, VA, as well as the corporate collections
of Capital One,
Reston, VA, Johns Hopkins Hospital, Baltimore, MD,
Washington Post, DC,
and numerous other public and private collections in
the United States
and Great Britain.
|
Astoria Boat Yard, 2019
Oil on canvas, 14.25 x 14.25",
$850
Astoria Boat Yard, Clear Day, 2019
Oil on canvas, 16 x 12",
$850
Boat Bookends, 2019
Oil on paper, 10 x 9",
$450
Red Bottom Boat, 2019
Oil on canvas, 9 x 12",
$550
Hood Mountain Morning Light, 2015
Oil on canvas, 12 x 16",
$850
Hood Mountain Valley, 2014
Oil on canvas, 12 x 12",
$650
Glowing Cliff, St. George Utah, 2011
Oil on canvas, 14 x 18",
$975
Mesa at Dawn, Moab, Utah, 2011
Oil on paper, 8 x 12",
$500
Moab Rift, Moab, Utah, 2011
Oil on canvas, 14 x 18",
$975
Saint George Cliffs, Moab, Utah, 2011
Oil on paper mounted on board, 12 x 12",
$650
Snow Canyon, Utah, 2011
Oil on canvas, 12 x 16",
$850
Valley of the Gods, Utah, 2011
Oil on paper mounted on board, 12 x 12",
$650
Clouded Ridge Bryce Canyon, 2014
Oil on Linen, 46 x 42",
$4800
Set 1
Set 2
Set 3
Set 4
Set 5
Set 6
Set 7
Set 8
Set 9
Set 10
Set 11
Set 12
Set 13
Set 14
Set 15
Set 16
Reviews
Regarding the artist’s first solo show at Steven Scott
Gallery, Baltimore Alternative editor and critic Rawley Grau writes in
June 1994:
“Robert Andriulli’s landscapes betray a vision of mysterious,
fateful forces that seem informed more by dream than by the light of day. This
is most clearly evident in a series...that feature enormous, impossible cloud
formations. In Autumnal (1992), a huge cloud-ball fills the center of the
canvas, catching the pink light of morning as it floats over the peaceful
farmland of a Western Pennsylvania mountainside....Majestic and indifferent, it
could be an image of divinity or doom....The meteorological battle between light
and darkness, energy and matter, space and weight unfolds before us like the
conversation of the Olympians.”
“Andriulli’s fine skill in rendering the
quality of light is used to interesting effect...in a series featuring boulders
on the coast of Maine where the morning light makes the rocks look almost
bloody, and in Suburb, the most visually complex work in the show. Here
houses with neat lawns nestle in the shadow of a mountain, the congested
industrial city visible in the distance across a river. The suburb seems at once
protected and exposed.”
|
|
|