![]() ![]() "Moonrise in the Hamptons" is a beautiful example of Bretzke’s use of the Prismatic Palette. This image recalls more naïve American painting where simplified colorful skies hung over a sweet little village. The foreground is cloaked in darkness, yet the light catches on shiny details of a single parked automobile. #Lucent hearts soul mate windows#Soft lights emanate from the windows as tenants decompress in their apartments. ![]() The light from Main Street echoes into the night sky – forming a radiant chartreuse atmosphere. Rooftops dissect the horizon in staggering formation. "Behind Sag Harbor Main Street" bellows the quaint and quiet charm that exists beyond the commercial areas of the village. Notice all the different sources of light in this nocturne, and how diligently Bretzke observes the shifting colors of each of those lights. Streetlights illuminate the sidewalks and storefronts sparkle, tempting window-shoppers to return for open hours. Bretzke showcases the liveliness of the village since the cinema reopened, with multiple figures walking along the sidewalk, cars parked on the street, and a pair of headlights creeping out of the darkness of night. The prominent red neon sign that has become a landmark to the village, glows amiably, inviting all to come-in for some popcorn and a film. In “Movie Night” Bretzke situates us outside the newly re-built and re-furbished Sag Harbor Cinema. One can assume this is the kind of place the locals frequent for their daily meals, a casual cup of joe, or a late-night slice of pie. Illuminated signs declare this institution with precision: “Wilsons Restaurant, Fountain Service” “Hamburgers, Lunches” and the classic “Coca-Cola” white and red logo above candy-striped awnings. In “The Last Waitress” Bretzke presents the silhouette of a woman walking away from a traditional American restaurant. Where Hopper found isolation, Bretzke finds comfort. Almost a 100 years later, where Hopper saw angst, Bretzke finds peace. You must see WHERE the color changes and where the light is coming from.”īretzke’s work also exudes a cinematic quality that evokes a more positive and connected iteration of Edward Hopper’s deep dive into the American experience. Bretzke remarks: “What most people don’t notice is, as the light drops off, the color of light changes. ![]() He is particularly adept at scenes which ooze in darkness, reminiscent of Edward Hopper. You must know it, to see it, to paint it.” His work explores the prismatic palette, and he is constantly concerned with the effect of light (perhaps an upshot of his scientific background.) Bretzke’s paintings perform tricks for the eye as he explores the subtle shifts of the different colors of light within the composition. Having been trained and employed as a surgeon for 30 years before becoming a full-time painter, Bretzke reflects: “In medicine, you see what you know. He is most comfortable painting the Mid-West scenes he intimately knows, and his eye for the American life is recognizable to any viewer. Born, and currently based in Minnesota, Bretzke is an emotionally accurate and observant chronicler of urban and rural plein-air scenes. #Lucent hearts soul mate series#1954) delivers a poignant series of new paintings for his 8th consecutive year showing at the Grenning Gallery. The exhibit will hang through Monday November 6th, 2022.Ĭarl Bretzke (b. We invite the public to our Opening Reception 6:00- 7:30pm on Saturday, October 15th. In this show we feature the latest work from celebrated American plein-air painter Carl Bretzke and third generation Russian Impressionist painter Viktor Butko. The Grenning Gallery is pleased to present our latest exhibition: Bretzke | Butko: a two-man exhibition which will hang from Saturday, October 15th through Monday, November 6th, 2022. ![]()
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