White Still Life II,
Jamaica Plaza, Bridge,
Steamy Window / The Cat and the Moon,
Window Crocus, 2002
watercolor, 24 x 20 inches
Window Angel II, 2000
watercolor, 42 x 55 inches
Black and White Still Life, 2002
watercolor, 48 x 32 inches
Too Many Jars, 1994
watercolor, 44 x 34 inches
Window Angel II, 2000
watercolor, 42 x 55 inches
Sacramento Through a Steamy Window, 1990
watercolor, 48 x 72 inches
Steamy Window / J Street,
Steamy Window / Times Square, 1999
watercolor, 72 x 60 inches
Markings on a Steamy Window,
Utility Room Still Life, 2004
watercolor, 36 x 29.5 inches
Oak Galls and Iceland Poppies, 2003
watercolor, 38 x 36 inches
Shower Curtain and Thick Chair, 2014
watercolor, 46 x 38 inches
Cheap Still Life, 2002
watercolor, 60 x 30 inches
Still Life with Lamp and Foil, 2004
watercolor, 18 x 30 inches
Light / Tea, 1980
watercolor, 28 x 24 inches
Utility Room Still Life, 2004
watercolor, 36 x 29.5 inches
Window Still Life, 1993
watercolor, 24 x 32 inches
Cans and Lemons, 1964
watercolor, 48 x 42 inches
Piano Shawl, 2005
watercolor, 48 x 36 inches
Still Life with Blue Vase, 1994
watercolor, 25 x 35 inches
watercolor, 16.25″ x 20.25″ inches
Paper Woman In A Cup, 1984
watercolor, 20.5 x 18.5 inches
Betty at Fort Bragg, 2014
watercolor, 24 x 12 inches
Latex Gloves , 1997
watercolor, 24 x 12 inches
Untitled Figures, 1969
Graphite on paper, 22 x 18 inches
Latex Gloves , 1997
watercolor, 24 x 12 inches
Potting Room, 2005
watercolor, 40.5 x 49.5 inches
watercolor, 34 x 48 inches
watercolor, 45.5 x 36 inches
Two Models, 1993
watercolor, 58 x 60 inches
Amanda and Chris, 2005
watercolor, 48 x 36 inches
Green Robe, 1994
watercolor, 47.5 x 56 inches
I hadn’t planned on a lot of things. I hadn’t considered there would someday be an internet or that there would be web sites where persons could display, or even want to display, what might be their recorded glory. I didn’t store away the various writings that my work elicited from very kind and thoughtful people. I hadn’t adequately considered the future of my career, and in many ways I still do not consider it all that much. I just do my work quietly and privately in my studio. I don’t think much about my job beyond that. My paintings tend to reflect that. Cobbling together information for this site would have been impossible had it not been for my late wife, Susan, who squirreled away scraps of newspapers and magazines and other print material from which I could glean a few relevant bits. Many of the writings she never saw, so they were not saved and they are gone from my awareness.
The paintings I have chosen for this site are not presented as a chronology of my work. The selections were chosen from only a fraction of the paintings I have made, as I was not always attentive to photographically archiving them. I expect that fewer than half of my approximately nine hundred paintings, were ever photographed. The dates that I have assigned to them in this site are not always accurate. Many are only estimates but I think most are close. I am not sure that it matters. The sizes, too, might occasionally be a couple of inches off. But they are close. I have separated the images into three general areas: figures, still life, and what I call “steamy windows.” These areas of focus are not related to any chronology as they are all done at times overlapping each other and lapping back. In some instances I work on all of these genre concurrently.
All the paintings I am showing here are done in transparent watercolor. I slightly size the paper I am working on with a particular glue in order to prevent the pigments from invading the paper and staining it. That allows me to scrub out passages I might reconsider. Consequently, I refer to my medium as “watercolor incorrect.” They are “paintings in watercolor.” They are not “watercolors.”
The subject matter and themes of my paintings do not require explanation. The paintings do seem to evoke conversation. I like that.
1962 Barrios Gallery, Sacramento, CA
1963 Barrios Gallery, Sacramento, CA
1964 Silvan Simone Gallery, Los Angeles, CA
1965 Silvan Simone Gallery, Los Angeles, CA
1965 Candy Store Gallery, Folsom, CA
1966 Silvan Simone Gallery, Los Angeles, CA
1967 Candy Store Gallery, Folsom, CA
1967 Silvan Simone Gallery, Los Angeles, CA
1969 Upper Grosvenor Gallery, London, England
1969 Silvan Simone Gallery, Los Angeles, CA
1970 Artists Contemporary Gallery, Sacramento, CA
1970 Comara Gallery, Los Angeles, CA
1971 Artists Contemporary Gallery, Sacramento, CA
1971 Comara Gallery, Los Angeles, CA
1973 Santa Barbara Museum of Art, Santa Barbara, CA
1974 Silvan Simone Gallery, Los Angeles, CA
1975 Retrospective Show, E. B. Crocker Art Museum, Sacramento, CA
1977 Some People I Know, Silvan Simone Gallery, Los Angeles, CA
1978 Dubins Gallery, Los Angeles, CA
1978 Drawings at Artists Contemporary Gallery, Sacramento, CA
1979 Dubins Gallery, Los Angeles, CA
1980 David Findlay Gallery, New York, NY
1981 Artists Contemporary Gallery, Sacramento, CA
1981 Stevensen Union Gallery, Southern Oregon University, Ashland. OR
1981 Dubins Gallery, Los Angeles, CA
1983 Sherry French Gallery, New York, NY
1983 Artists Contemporary Gallery, Sacramento, CA
1984 Artists Contemporary Gallery, Sacramento, CA
1984 Jeremy Stone Gallery, San Francisco, CA
1986 Sherry French Gallery, New York, NY
1987 Robert Berman Gallery, Santa Monica, CA
1987 Diablo Valley College Gallery, Pleasant Hill CA
1988 Drawings, Himovitz – Jensen Gallery, Sacramento, CA
1988 Sierra College Gallery, Rocklin, CA
1989 Artists Contemporary Gallery, Sacramento, CA
1989 Andrea Ross Gallery, Santa Monica, CA
1991 Michael Himovitz Gallery, Sacramento, CA
1992 Louis Newman Gallery, Beverly Hills, CA
1993 Solomon Dubnick Gallery, Sacramento, CA
1994 Louis Newman Gallery, Beverly Hills, CA
1994 Solomon Dubnick Gallery, Sacramento, CA
1996 Solomon Dubnick Gallery, Sacramento, CA
1998 Solomon Dubnick Gallery, Sacramento, CA
2003 Art Foundry Gallery, Sacramento, CA
2003 Davis and Cline Gallery, Ashland, OR
- Glacken, William. Silva Exhibit. Sacramento Bee (November 1, 1966).
- Wilson, William. An Artist Amidst Paisley Shadows. Los Angeles Times (November 3, 1967).
- Johnson, Charles. Art Views, Return Of A Talented Native. Sacramento Bee (August 2, 1970).
- Simon, Richard. A Star in the Gallery Galaxy. Sacramento Union (July 14, 1971).
- Seldis, Henry J. Silva Paintings On Display. Los Angeles Times (September 22, 1971).
- Simon, Richard. An Artist Isn’t Sure Art is Important. Sacramento Union (February 27, 1972).
- Crocker Purchase. Sacramento Bee (September 24, 1972).
- Wilson, William. Art Walk Los Angeles Times (May 3, 1974).
- Watercolors by Jerald Silva at Art Museum. Santa Barbara News Press (March 18, 1973).
- Film: Jerald Silva, A Painter. Producer: A. J. Krisik. Filmed and Directed by John Krisik and Dave Roseberry. 27 Minutes (1974).
- Simon Richard. Speaking Figuratively about Jerald Silva. Sacramento Union (March 26, 1975).
- Meyer, Susan E. 40 Watercolorists and How they Work Watson-Guptil Publications. 126-129.
- Howell, Betje. Painter of People, Not Portraits. Los Angeles Herald-Examiner (May 29, 1977).
- Wilson, William. Art Walk, West Los Angeles. Los Angeles Times. (June 3, 1977).
- Dalkey, Victoria. Jerald Silva. Arts Magazine (June 1980).
- Simon, Richard. New Twist to a Familiar Style. Sacramento Union (1983).
- Jan, Alfred. Disquieting Images. Artweek. (October 6, 1984).
- Dalkey, Victoria. Twenty-Five Years of the Artists Contemporary Gallery. Catalog Duppee (Little Eva Steps Out) p 35 (1983).
- O’Beil, Hedy. Jerald Silva. Arts Magazine, 42 (September 1984).
- Jan, Afred. Jerald Silva. Arts Magazine (January, 1985).
- The Monumental Image Catalog. Springfield Art Museum, Springfield MO.
- Dalkey, Victoria Menacing Approaches. Sacramento Bee (May 10, 1987).
- Auburn Arts 36 Juror Selected. Auburn Journal (March 27, 1987).
- Video: Artist in the Studio. Producers, SJUSD, Patty Taylor and Sally West-Morgan: Sacramento Cable Consortium. (July 17, 1987) 60 minutes.
- Dalkey, Victoria. The Intimate Jerald Silva. Sacramento Bee (1988).
- G. Galleries. Los Angeles Times (September 29, 1989).
- Gibbs, Barbara K. and Driesbach, Janice T. The Kingsley Art Club Centennial. Catalog The Allegory With No Name. (1991), 19.
- Venus, Ariadne and Bacchus. Artspace Magazine (March-April 1991).
- Vilas, L. Jerald Silva. Visions Magazine (Fall 1991).
- The Purloined Image. Flint Institute Catalog (1993).
- Dalkey, Victoria. Dark Watercolors Imbued With Tension. Sacramento Bee (October 9, 1994).
- Video: Conversation with Jerald Silva at Solomon Dubnick Gallery. Produced by Pam Johnson and Sierra College (October 1994).
- Belt, Debra. Contemporary and Regional, Solomon Dubnick Hosts a Spirited Stable of Artists. Sacramento Bee (April 27, 1994).
- Frank, Peter, Dismuke, Alan, and Silva, Jerald eds. Intimate and Incorrect: Paintings in Watercolor by Jerald Silva. Sacramento: Solomon Dubnick Press, 1995
You may decide, for instance, that his style lies along expressionist lines, since he freely distorts, blurs, exaggerates or otherwise alters the look of some of his subjects in order to transmit feeling about them, yet for all their fluidity of form and freedom of color, some of his still lifes have a classic calm and sense of order.
Again, you may be struck by the way some of these same still lifes seem to vibrate, like the impressionists’ paintings, and yet the light in these pictures is not the light of the impressionists, most of the time, it is a haze, and it is not. In a word, Silva is his own man.
William C. Glacken, Sacramento Bee, August November 1, 1966
Young and not internationally recognized, Jerald Silva stands high among all the others…his water color paintings are of such vibrant beauty and incredible quality, they can be classified only as the products of a master.
An Oasis in the Midst of Nowhere, The Silvan Simone Gallery (Los Angeles), Steve McGraw, A Complete Guide to the City, February 1973
Jerald Silva has understated his career like a card player with a solid hand.
William Wilson, Los Angeles Times, June 3, 1977
Jerald Silva is a painters’ painter who relates what he knows best– his studio and materials. We see cropped views (from an aerial perspective) of patterned drapery, paint cans, color swatches, trade magazines and unfinished watercolors. Silva paints the nuts and bolts of an artist’s surroundings in soft detail and impressionistic color. Large watercolors shimmer with delicate markings from a full palette. Myriad techniques, sensitively applied, blend easily…Silva affects a successful marriage of figuration and abstraction, occasionally reminding us of Pierre Bonnard. Objects are recognizable without becoming tediously specific. Masterful arrangements of disparate parts and patterns maintain strong structure under luscious surfaces. What looks like pleasant disarray is carefully ordered painting.
Suzanne Muchnic, Los Angeles Times, February 16, 1979
In art as in life, first impressions are the most important. But that dictum is even more true when applied to the work of Jerald Silva. The onlooker is drawn immediately to Silva’s work by the extraordinary luminosity of the artist’s watercolors. Their intensity and freshness affect the eye the way the effervescence of champagne affects taste. But the second impressions — as they must — begin to obtrude. One of the strongest is wonder: How does he do it?
Richard D. Simon, Sacramento Union, 1983
In his first New York show, Jerald Silva continues the dialogue between realism and abstraction that has informed his work since the late sixties. Essentially a painter of still lifes, Silva sets up a tension in his large-scale watercolors between flat abstraction and trompe l’oeil illusionism. Figures and objects placed in manipulated, disjunctive space serve as foils for his investigation of the process of seeing. The eye is immediately fooled and then made aware of its foolishness. In this sense Silva is like a magician who tricks us and then stands back to laugh. As a final ironic dichotomy, he offers us still lifes that are full of anxiety. He unbalances his compositions, manipulates the space, and agitates the surface, all the while working within a genre predicated on repose.
Victoria Dalkey, Arts Magazine, June 1980
The paintings are uniformly compelling because Silva is the most painterly of painters. The gleaming surfaces he achieves with watercolors reveal an extraordinary technique. But technique is only the beginning of his virtues. It is sufficient that they induce a response–a sense of wonder.
Richard Simon, Sacramento Union, February 28, 1981
Jerald Silva paints in a lyrical poetic style that is in direct contrast to his commonplace subject matter. It is the sort of technique that one usually associates with conservative motifs: still lifes, landscapes and portraits. Actually, Silva does embrace these tried -and-true subjects, but it is his stretching of style and injection of irony that gives his work added appeal.
Ellen Schlesinger, Sacramento Bee, 1980
In his continuing efforts to challenge the politeness of watercolor as a medium, Jerald Silva has made his recent paintings large and complex. Marrying modernist content and technique with traditional watercolor luminosity results in work that defies easy categorization. They consistently show Silva’s skill in combining realism and abstraction and in using watercolor in unusual ways. They display disquietude that is at odds with their brilliant decorative coloration.
Alfred Jan, Artweek, October 6, 1984
They are stunning works that take watercolor to places beyond our expectations of the medium. Working more like an oil painter, Silva builds up layers of transparent color into deep, resonant glazes. Silva is one of the most masterful figurative artists around. Yet he is humbled by the subject of the figure. “I find it awesomely challenging,” he says. “I think probably it’s one of those things where I’m going to have to keep doing it until I get it right.”
Victoria Dalkey, Sacramento Bee, October 9, 1994
Known as a realist, Jerald Silva has spent much of his career redefining “realism.” Silva’s realism may be painstaking in its rendition of objects observed in the world around him, but it is anything but naturalistic. It rearranges, modifies, even falsifies the nature of observed things and their relationships to one another, all according to the subjective responses of the artist. It could even be said that Silva indulges his own point of view at the expense of veracity. In that respect he capitalizes on one of the permissions given uniquely by painting; to challenge perception by giving new order to the perceived. Silva does not defy veracity; he defies mere veracity.
Confounding our expectations by reordering so many familiar things, and interspersing them with some things that at first seem unfamiliar, Silva challenges our comprehension further by employing a style as exacting and virtuosic as any used by contemporary representational painters. His pictures, for all their intricacies, are still inflected with a certain comforting homeliness. Few if any of their elements, after all, are unfamiliar to us, or are even distorted in any way that robs them of their reassuring commonness. Silva is as much a still life painter, of a sort, as he is a figure painter (again, of a sort). He takes few liberties with the way things and people appear. The liberties Silva takes are with the psychological and perceptual contexts in which such things and people are cast.
Despite the fact that stories seem to underscore so many of Silva’s pictures, the pictures exist not so much narratively as anecdotally. If Silva’s visual world is circumscribed (“my studio is my subject,” the painter has averred), each of his pictures proposes not a complete, closed story but a circumstance at which the artist/viewer and the subject/protagonists have happened to arrive. Silva may intervene in the order of things; but his manipulation of elements has an instability and provisionality to it. Such fragile coherence suggests not so much a narrative as it does the temporary sense of order and omnipotence associated with lucid dreaming (that is, dreaming in which the dreamer knows s/he is dreaming and attempts to take some control). Such incidentally evinces the familiarity with theatrical arts and theater people that Silva has maintained throughout his adult life; it also bespeaks the painter’s relatively improvisatory approach to composing his pictures, working as he does less by setting up and rendering tableaux than by compiling and interfacing elements that were initially discrete in time and space.
The incidental fleeting quality of Silva’s pictures is reified by his almost exclusive use of watercolor, with its restrained, even tenuous palette and its never-entirely-solid lines. As luminous as his tonalities are, Silva’s hues are almost invariably tonal. The inclusion of “local color” such as comic strips, children’s paintings or other pictures-within-pictures only proves the rule with exceptions. For all his engagement with the watercolor medium, however, Silva thinks in terms defined as much by the expansive emphatic–indeed theatrical– and highly self-conscious tradition of painting as by the intimate, offhand watercolor tradition.
…Silva relies on interior space as the arena of his pictorial expression. Interior space, bounded and artificially lit, is where physical and psychological sensation most readily merge into one another, setting the stage for a theater of the self. It is a theater of deflected sensuality, recaptured memory, a theater of ghosts and their passions, and of the artist thrown back upon himself, his obsessions and his desires, until all dissolve into the shadows.
When Silva says that his paintings are “terribly narcissistic– [they are] always about me,” we realize that, to upend the parlance of current critical theory, they privilege not the male gaze but the “me gaze.” Whether looking at something, imagining it, or approximating its reconstruction from his imagination in real time-space, Silva’s real subject is his own mind. What he privileges is his own particular perception. It is indeed a male perception, and its obscure objects of desire are often nude women of certain voluptuousness. The subjects’ poses are not lascivious, however, but matter-of-fact, or tender, or humorous, even satirical, mocking the very tradition(s) of male gazing that frame our initial reception of them. Furthermore, Silva devotes as much attention to his subjects’ faces as he does their bodies. Each of his sitters, nude or not, female or not, is perceived at once as an individual, nameable and identifiable, and a figure interacting with a space and its inanimate objects.
In recounting how particular pictures were composed and compiled, Silva remembers and reminisces about still life items as vividly as his figural subjects. He considers them almost as animate as the people who model with them. This, of course, is not to say that those people are virtually inanimate, but rather that Silva seeks to imbue his still life elements with much of the same provocative presence, because to his eyes those elements actually have that presence. By contrast, more than a few contemporary realist painters are wont to rob their figures of vivacity, reducing them to fleshy still lifes.
Silva’s pictures are much more than still lifes, and not just because their figures are credible. They are charged with psychological tension, the tension between voyeuristic impulse and sentimental attachment, between “objective” distance and the need to touch, even to embrace, no matter what the object of the artist’s gaze. In his layering of images and meanings, Silva is also working on many levels of possession and being possessed. And he is not, and cannot be, coy about this wrenching but enduring emotional state of deflected desire. Rather, in order to create intricate, resonant paintings Silva has almost to confess to his obsessions and his fears. His paintings are as affecting as they are because their ultimate subject is the humanness of the man who made them– and, by example, humanness in general. Silva does not insist on the pre-eminence of his point of view or the tragedy of his every manhood. Rather, he proposes that his point of view, for all the strangeness of the modifications it visits on reality, is typical.
The world Jerald Silva paints is as constricted as it is in order to reflect back to him, and us, the very act of apprehending it. We see thereby that it is shaped by the impulses and projections of a control freak, a voyeur, a narcissist, a mild paranoiac– that is to say, it is shaped by neuroses common to us all. Its cozy familiarity and dreamy softness, even sweetness, implies that this slightly fantasized reality is, but for the grace of the god of painting, not simply Silva’s projection, but ours.
Peter Frank: editor, Visions Art Quarterly, art critic, L. A. Weekly.
Intimate and Incorrect, Paintings in Watercolor by Jerald Silva
Solomon Dubnick Press, 1995