Reynolds Fine Artpresents

View of the Past: Anna Held Audette

For inquiries please contact:

Reynolds Fine Art96 Orange Street

New Haven, Connecticut 06510

203.498.2200info@reynoldsfineart.com

www.reynoldsfineart.com

Photographs and design by Emily Annis

Paintings

Italian Forms, 1988, Oil on canvas, 81” x 59.25” - $9,300

Window with Red Marker, 2005, Oil on canvas, 35.88” x 22” - $2,600

Bascule Bridge, 1990, Oil on canvas, 62” x 36.38” - $4,500

Window, Vermont, 1996, Oil on canvas, 36” x 21” - $3,100

Orivieto, 1998, Oil on canvas, 48.25” x 24” - $2,600

Locomotive, 2008, Oil on canvas, 42” x 32” - $2,600

Windows, 1984, Oil on canvas, 35” x 28.5” - $4,000

Shelton Factory Interior, 2005, Oil on canvas, 50” x 36” - $5,100

Factory in Mist, 2005, Oil on canvas, 33.75” x 31.63” - $3,700

Nacelle, 1984, Oil on canvas, 48.38” diameter - $2,000

Budd Truck, 2005, Oil on canvas, 19.88” x 48” - $2,100

Winter Storage, 2000, Oil on canvas, 20.25” x 44.25” - $3,100

Altes Museum, 1992, Oil on canvas, 35.5” x 70” - $7,700

Suisun Bay I, 1995, Oil on canvas, 35” x 41.88” - $7,900

Steamtown, 2008, Oil on canvas, 40” x 60” - $6,900

Two Windows, 1984, Oil on canvas, 26.5” x 29.75” - $2,200

Factory Yard, 1999, Oil on canvas, 35.75” x 41.88” - $6,800

Old New Haven Terminal, 2006, Oil on canvas, 71.75” x 64” - $6,000

Old New Haven, 2007, Oil on canvas, 28” x 34” - $4,100

Works on Paper

Floral Prints - Daylilies, 1988, Monoprints, 14.75” x 10” - set of 8 $1,800

Floral Prints - Geraniums, 1988, Monoprints, 14.75” x 10” - set of 6 $1,800

Pluto, 1969, Intaglio etching, 10” x 6” - $450

Seascape, 1958, Intaglio etching, 6” x 8” - $450

Truck Series II, 1987, Monotype, 8.75” x 12” - $550

Stairwell, 1980, Monotype, 17” x 8.5” - $650

Untitled, 1959, Intaglio etching, 5” x 3” - $350

Bees, 1955, Intaglio etching, 3” x 5” - $560

Untitled, 1952, Intaglio etching, 3” x 2” - $260

Griffin, 1960, Intaglio etching, 6” diameter - $450

Armored Figures, 1965, Aquatint etching, 16” x 20” - $450

Armored Figure, 1965, Intaglio etching, 20” x 16” - $450

Empty Armor, 1967, Intaglio etching, 20” x 15.5” - $560

Empty Armor, 1967, Intaglio etching, 16” x 20” - $560

Biafra, 1967, Aquatint etching, 17” x 9.5” - $250

Goats Beard, 1969, Intaglio etching, 16” x 12.5” - $450

Gisant, 1964, Intaglio etching, 8.75” x 10.75” - $560

Gisant, 1966, Intaglio etching, 18” x 15” - $560

Assiniboin, 1966, Woodcut, 9.75” x 7” - $450

Black Crow, 1966, Woodcut, 11” x 19.5” - $500

Blind Figure, 1968, Intaglio etching, 20” x 15.75” - $560

Emblem, 1966, Intaglio etching, 22” x 25.5” - $540

Bull, 1980, Monotype, 12” x 16” - $600

Great Turtle, 1965, Intaglio etching, 20” x 16” - $650

Harsaphes & Aziza, 1978, Lithograph, 17.75” x 24” - $650

Funerary Items, 1979, Mixed media, 27.5” x 39” - $1,400

A7 Tail, 1983, Graphite on paper, 29.5” x 41.75” - $1,400

Cadaver (with Elephant), 1965, Graphite on vellum, 30.5” x 21” - $600

Car IV, 1981, Graphite on paper, 42” x 30” - $1,400

Car Series #10, 1981, Charcoal on paper, 42” x 30” - $1,300

Factory, 1980, Pastel on paper, 42” x 30” - $2,600

El Alamein, 1977, Graphite on paper, 42” x 30” - $1,200

Figure Study, 1960, Graphite on paper, 24” x 27” - $700

Floating Nightgown, 1970, Graphite on paper, 30” x 22” - $850

Temple, 1977, Lithograph, 41” x 26” - $1,300

Phantasy, 1980, Graphite on vellum, 34” x 22” - $1,200

Subjects such as abandoned factories, ships, bridges, and the dilapidated space launch site, Cape Canaveral, have been memorialized through Audette’s canvases. Stemming from her underlying interest in structure, Audette’s paintings are an exploration of the speed and effect of decay on modern industrial powers. These objects and locations, however, are not depicted as foreboding omens of the demise of industry, but rather, the artist has approached them with sympathy in feeling their neglect and emptiness. Audette’s paintings possess reverence for their subjects and act as symbols of hope for rebirth. These works are both realistic and abstract as her tendency is to focus on shapes, spaces, shadows and light. This technique has allowed the artist to capture the spirit of her subjects. Audette said of her work, “The relics remind us that, in our rapidly changing world, the triumphs of technology are just a moment away from obsolescence. Yet these remains of collapsed power have a strength, grace and sadness that is both eloquent and impenetrable. Transfigured by time and light, which render the ordinary extraordinary, they form a visual requiem of the industrial age.”

Where Audette’s canvases tend to convey auras of resilience and power, despite their subjects declining condition, her prints and drawings possess the softer quality of a delicate, personal narrative. These works create an intimacy with the artist and reveal more of her internal conflicts; lighthearted and simple thoughts are juxtaposed with images that elicit a darker, more contorted, emotional response.

In 2008 Anna Held Audette was diagnosed with Fronto-Temporal Degeneration, an extremely rare form of Alzheimer’s. Since her diagnosis, Audette’s cognitive functions have declined, but with the assistance of a former student she has carried on with painting and drawing.

Prepared by MagCloud for Robert Reynolds. Get more at reynoldsfineart.magcloud.com.