Richard Jerome Bogart

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Red Tide 52x55
Winter Solstice 48x51
Morning Pond
The Rose Limnic
Morning Haze - The Mill Stream
Clandestine Trace
The Light Within 40x43
Quick Facts
University of Illinois, 1954
Black Mountain College, North Carolina, 1956
The School of the Art Institute of Chicago
Representing galleries
Gallerie 454
Easel Painting and Plein Air Painting mixed-media landscape painting mixed-media mixed-media, landscape

The ambiguity and mystery of nature have been the foundation of all my art, from my early nonobjective and abstract work to the current mystical mirror-images of trees reflected in the water.

The distillation of rain and mist among the alizarin branches of springtime, the pond under evening mistwaves, or the solitude of trees shrouded in a morning fog all lend themselves to a lyrical but obscure paint surface.  Not always landscape painting in the true sense of the world, but intuitive, with an attempt to link 12th-14th century Chinese landscaping painting, 19th century French Impressionism and contemporary American color-field into an art of historical reverence and personal intimacy.


Michigan Artists, Detroit Art Institute, 1949, 1963

Exhibition Momentum Midcontinental, Chicago 1953

Wells Street Gallery, Chicago, 1958

Riverside Museum, New York, 1964

Poindexter Gallery, New York, 1967, 1968, 1970, 1973, 1979, 1983

Peridot Gallery, New York, "The American Landscape", 1968

The Museum of Modern Art, Ambassador Program, New York, 1968

American Federation, Traveling Exhibition, "The American Landscape", 1969

Joslyn Art Museum/Sheldon Memorial Art Gallery

"A Sense of Place: The Artist and the American Land", 1974

Meredith Long & Co., Houston 1977

Connecticut Painting & Drawing & Sculpture, 1978

GMB Gallery, Birmingham, Michigan 1982

Artist Showcase, Connecticut Commission on the Arts, 1984

"State of the Artist", The Aldrich Museum, Ridgefield, Connecticut, 1987

J. P. Natkin Gallery, New York, 1985, 1986, 1987

Douglas Drake Gallery, New York, 1990, 1992

Munson Gallery, New Haven, Connecticut, “Landscape 1990”

Gallerie 454, Birmingham, Michigan, 1993

Traveling Exhibition, The Artist as Native:  Reinventing Regionalism Organized by

Babcock Galleries, New York, 1993/94

Art/Place, Southport, Connecticut, “The Reflected Landscape”, Artist of the Year, 2000

Museo Nacional Centro de Arte, Madrid, Spain, “Black Mountain College:

Experiment in Art”, 2002

Copley Society of Art, Boston, MA 2007

KN Gallery, Chicago, Illinois 2008



A Sense of Place:  The Artist and the American Land, Allan Gussow

American Artists:  An Illustrated Survey, Les Krantz

The Artist as Native:  Reinventing Regionalism, Allan Gussow

Black Mountain College: Experiment in Art, Vincent Katz

Subject Matter and Abstraction – in Exile, Robert Natkin



The Reflected Landscape, 1987

Latitudes, 1993

No Other Shore, 1999

Still Ponds, 2002



De Young Fine Art Museum, San Francisco, CA

Brooklyn Museum, NY

Detroit Institute of Arts, Detroit, MI

Mint Museum of Art, Charlotte, NC

Yellowstone Art Museum, Billings MO



The Chase Manhattan Bank, New York, NY

JPMorgan Chase, Chicago, IL

J.C. Penney Co., New York, NY

Kresge Foundation, Detroit, MI

University Medical Center, Tucson, AZ

Republic Mineral Corp., Houston, TX

Mc Kinsey Co., New York, NY

Pfizer, Inc., New York, NY



“Richard Bogart has had many one-man shows in New York since he first arrived from the Midwest in the early 60’s…I see Bogart as part of a tradition of quietism in modern American painting, traceable through Avery, Bagiotes, Newman, Stamos and above all, Rothko.”

Lawrence Campbell, Art in America

“The most engaging landscapes in the contemporary whirl.”

Time Magazine


“Richard Bogart…redeems a whole line of soft-focus hazy landscape by virtue of its superior poetry, strength, and delicacy.”

Hilton Kramer, The New York Times


“Like the work of great landscape painters of the past, Bogart’s simple scenes produce a feeling of awe.”

John Ashberry, Art News


“These are brilliant, oddly chilling pictures, intensely personal and skilled.”

J.K.H., Arts Magazine