Jean-Pierre Cassigneul

Timeless Elegance – New York

Jean-Pierre Cassigneul (b. 1935, Paris) stands as one of the most distinctive voices in post-war French painting, celebrated for his poetic depictions of women, gardens, and domestic interiors. Known for a refined chromatic sensibility and an unmistakable lyrical restraint, Cassigneul’s canvases evoke a world of quiet introspection, intimacy, and cultivated elegance. His favored subjects—often women in wide-brimmed hats, seated in reflective interiors or bathed in dappled sunlight—occupy a realm suspended between modernity and nostalgia.

Cassigneul held his first solo exhibition at seventeen and pursued formal studies at the Académie Charpentier and the École des Beaux-Arts under Jean Souverbie, later apprenticing in the studio of Roger Chapelain-Midy. In 1959, he was appointed to the Salon d’Automne, marking his early recognition among France’s post-war artistic circles. His affinities with Bonnard, Vuillard, and the expressive vibrancy of Kees van Dongen informed a visual language defined by luminous palettes, bold contours, and a distinctive graphic clarity that often recalls the aesthetics of woodblock printing and Nabis-era colorism.

Cassigneul’s career developed in close dialogue with international audiences. He first exhibited with Wally Findlay in 1968, inaugurating a transatlantic relationship that helped introduce his work to American collectors throughout the 1970s and 1980s. Over subsequent decades, he exhibited widely across Europe, the United States, and Japan, where his work continues to enjoy exceptional popularity. His paintings are held in notable private and public collections, including the Musée d’Art Moderne de Paris and the Izu Lake Ippeki Museum, Japan.

Timeless Elegance, presented by Findlay Galleries, marks Cassigneul’s first solo exhibition in the United States in 40 years. The works featured in the exhibition attest to the maturity of his late style, in which luminous harmonies of color and expressive linearity coalesce into compositions of emotional clarity and understated restraint. These recent paintings reaffirm Cassigneul’s longstanding pursuit of capturing fleeting instants—moments, in his own words, “of reflection and silence”—and preserving them through a timeless visual language.

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Chuang Che

Rediscovered Works

Born in Peiping (now Beijing) in 1934, Chuang Che established an international reputation for his innovative synthesis of Eastern and Western painting traditions. The son of renowned scholar, calligrapher, and Palace Museum director Chuang Yen, he was introduced to classical Chinese painting and calligraphy at an early age. After completing his studies in the Fine Arts Department at National Taiwan Normal University from 1954 to 1957, Che received a J.D. Rockefeller III Fund travel grant in 1966 that enabled him to study in the United States and travel throughout Europe. In 1973, he and his wife moved to the United States, settling first in Ann Arbor, Michigan, before relocating to Yonkers, near New York City, in 1987. His paintings are now held in numerous international museum collections, including the Cleveland Museum of Art, Detroit Institute of Arts, Shanghai Art Museum, Centre Pompidou in Paris, the Hong Kong Museum of Art, the Musée Cernuschi in Paris, and the Spencer Museum of Art in Lawrence, Kansas.

In Che’s work, elegant and spontaneous lines derived from Chinese calligraphy merge with broad gestural brushwork, spatters, and drips influenced by Abstract Expressionism. His palette—burnt umber, emerald green, lavender, and turquoise blue, animated by sweeping black lines—evokes the rhythms and forms of the natural world. As the artist has observed: “Through daily contact and experience, the brush strokes and script variations in calligraphy have now become a part of my creative soul. What I want to do is to rediscover the original nature of calligraphy. Wouldn’t it be truly magnificent to use the strokes of the running cursive to depict the mountains and rivers?”

Findlay Galleries is proud to debut nine monumental works on paper by Chuang Che, exhibited here publicly for the first time. Created in 1993, these works were carefully set aside by the artist soon after their completion and remained unseen for more than three decades until their recent rediscovery during a visit to his home. Their vibrant colors remain in pristine condition, retaining a striking immediacy: pigment surges, pools, and disperses with elemental force as dense formations of black and charcoal are balanced by luminous passages of turquoise, mineral green, and flashes of yellow that animate the surface.

Here, gesture becomes structure. Calligraphic arcs sweep across the paper or dissolve into atmospheric washes, while saturated passages yield to translucency, allowing the ground to breathe. Forms evoke stone, water, and shifting terrain without becoming descriptive, emerging and receding in a dynamic interplay of mass and void. Monumental in scale and presence, these works stand as fully realized statements—records of speed, pressure, and movement that preserve a vivid energy held in suspension, at once controlled and spontaneous, lyrical and commanding.

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Robert Natkin

(1930-2010)

Robert Natkin was a founder of the Lyrical Expressionist movement, whose artists moved away from Minimalism toward a new aesthetic where color and painterly expression returned to painting with a fluidity that contrasted with the gestural nature of Abstract Expressionism.

Many of Natkin’s works are composed of a poetic visual language of floating shapes, letters, and grids which resonate with a luminous palette. The frequently playful motifs, reminiscent of his idol Paul Klee, convey both an intimacy and a sense of dramatic tension. Like another of his heroes, Alfred Hitchcock, Natkin has created visual worlds, places of escape from the mundane and every day to a magical dimension composed of light and color. The results are paintings that seem quiet and intimate even as some may try to deliver a disquieting message.

The current exhibition of recently acquired work includes exceptional examples from Natkin’s Hitchcock, Bern, Fieldmouse, Intimate Lighting, and Apollo series.

Robert Indiana

(1928-2018)

The root of Robert Indiana’s LOVE imagery first appeared in a series of love poems written and laid out by Indiana in the late1950s. In that context the letters L,O,V, and E appear stacked 2 by 2.

By 1964, Indiana had composed the first version of LOVE in its current form for a Christmas card he sent to friends. The following year he was asked by MoMA to submit designs for the museum’s annual Christmas card, for which he submitted 3 LOVE paintings. The extraordinary popularity of the image led to its first limited edition print, and a near universal icon was born.

Findlay Galleries’ current exhibition surrounds the visitor with LOVE tapestries of various color combinations. The tapestries translate his iconic image into a soft, tactile medium that deepens its emotional pull. As a tapestry, the crisp geometry of the image takes on a sense of warmth and intimacy while preserving its striking clarity.

On a wall, or even on a floor, these works bring a sense of joy, peace, reassurance, and even security to the viewer. The wool tapestries are signed and numbered from limited editions of 175 and 100.

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Belynda Henry

Findlay Galleries is pleased to present Living Palette, a major exhibition of new paintings by the distinguished Australian artist Belynda Henry. This presentation marks her most extensive showing in the United States to date and her third solo exhibition with the gallery, following acclaimed presentations in Palm Beach and New York.

Widely recognized as one of Australia’s leading contemporary landscape painters and a multiple finalist for both the Wynne and Archibald Prizes, Henry brings to her art a refined synthesis of observation and emotion. Living and working in a lush valley north of Sydney, she draws continual inspiration from the natural world—the subtle shifts of light, the rhythms of the seasons, and the quiet resonance of the landscape.

Henry employs a distinctive technique that combines oil and wax, built up in multiple layers to create surfaces of remarkable depth and tactility. The result is a body of work with an unmistakably earthy presence. Her palette of soft pastels, enlivened by luminous bursts of color, conveys both serenity and vitality. Through her loose, layered application, Henry achieves a graceful interplay between abstraction and landscape, evoking movement, distance, and the passage of time.

In Living Palette, Henry deepens her exploration of the dialogue between abstraction and the natural world. Her process begins outdoors, through plein-air observation, and evolves in the studio, where memory, emotion, and intuition re-imagine what she has seen. The result is an expressive language of color and form that transcends depiction, transforming direct experience into atmosphere.

Each painting embodies Henry’s sense of happiness and wonder—qualities that are felt rather than declared. The vitality within her work emerges organically from her engagement with nature and from her belief that painting is a living conversation between artist, subject, and viewer.

To live with these paintings is to share in that vitality. Their presence fills a space with quiet energy, inviting reflection and renewal. Joy and beauty here are not static ideals, but ever-shifting forces—alive in color, texture, and the spirit that shaped them.

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Findlay Galleries is pleased to present Summer Selections, a vibrant group exhibition on view at our New York Gallery at 32 East 57th Street. This curated presentation brings together a diverse range of works by artists including Charles Neal, Ward Jackson, Judith Dolnick, Janet Mait, Robert Richenburg, Belynda Henry, and more. Spanning a variety of styles, movements, and media, Summer Selections celebrates the richness of artistic expression and offers collectors and visitors a dynamic glimpse into the breadth of the gallery’s contemporary and modern collections. Click the link above to view the available works

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Findlay Galleries is delighted to present Le Cirque des Rêves, an exhibition that pays vibrant homage to the spectacle, mystery, and enduring romance of the circus as seen through the eyes of six masterful artists: Marc Chagall, Nicola Simbari, Jean Dufy, Gen Paul, Henri Matisse, and Henri Maïk. Together, their works capture the visual poetry of the early 20th-century circus—an era when the arrival of the big top transformed towns into theatres of wonder and imagination.

In the early decades of the last century, the circus occupied a unique place in European and American culture. It was a cherished ritual, one steeped in its own elegant etiquette. Audiences arrived dressed for the occasion, often in evening wear, their excitement swelling with each sound of the orchestra tuning. Under the vaulted canopy of striped tents, an unspoken decorum ruled: silence during the tightrope walker’s ascent, thunderous applause for the tumblers, and collective awe at the soaring feats of the trapeze artists. The circus was both social event and enchanted dreamscape—a pageant of daring, color, and carefully orchestrated illusion.

Marc Chagall, whose imagination was forever tethered to the floating figures and fantastical creatures of circus life, evokes its spiritual and dreamlike dimensions. His works pulse with emotion and whimsy, blending memory and myth. Jean Dufy and Gen Paul interpret the circus through the lens of modernist energy and movement, capturing its rhythm, spectacle, and city-life allure. Nicola Simbari dazzles with dynamic color and sunlit drama, while Henri Maïk conjures the childlike joy and narrative charm of the parade. Matisse, ever the master of form and theatrical composition, contributes a sense of elegance and design that elevates the performers to icons of grace.

Le Cirque des Rêves brings these visions together in a lyrical celebration of a world that still haunts the cultural imagination. The circus, in these paintings, is not merely a subject—it is a symbol of performance, vulnerability, and sublime beauty. The artists reveal its many layers: the glitter and grit, the harmony and chaos, the fleeting brilliance of a moment before it disappears behind the curtain.

As you move through the exhibition, you are invited to surrender to the wonder that once captivated generations. Like the rustle of velvet curtains before a show, or the hush of a crowd just before the drumroll, Le Cirque des Rêves offers a timeless invitation to dream—to step into a world where gravity is defied, reality is suspended, and the heart beats just a little faster beneath the spell of the ring.

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Mary Sipp Green’s evocative landscapes transcend the boundaries of realism, inviting the viewer into a world shaped by memory, light, and atmosphere. Her signature skies — layered with subtle, radiant hues — do not merely depict a scene; they reveal its emotional and spiritual resonance.

“I began painting what I saw — realistic, recognizable scenes,” she explains. “But over time, I longed to express something deeper. I wanted my work to speak beyond appearances, to capture a sense of place as it exists in memory and feeling.”

This shift in vision emerged in Dusk on Goldenrod, a turning point in Sipp Green’s career. Inspired by a familiar meadow suddenly transformed by goldenrod and shifting light, the painting marked her transition from realism to something more intuitive and poetic.

A native of New York, Mary grew up drawing in her father’s Manhattan art studio. She studied fashion design at the Fashion Institute of Technology and later ran a boutique in Greenwich Village. Eventually, she moved to the Berkshires, where she embraced painting full-time. “I needed to see what my work could become — I knew I would regret not trying.”

Her influences include George Inness, Albert Pinkham Ryder, James Whistler, Mark Rothko, and the Luminist painters — artists known for their spiritual engagement with light, tone, and space.

Findlay Galleries is proud to present the work of Mary Sipp Green — a Massachusetts-based artist whose paintings open a window into the soul of the landscape.

Contact your gallery to enquire about a work of art, for more information on the exhibition, or to schedule an appointment.

Contact your gallery to enquire about a work of art, for more information on the exhibition, or to schedule an appointment.

Contact your gallery to enquire about a work of art, for more information on the exhibition, or to schedule an appointment.

Contact your gallery to enquire about a work of art, for more information on the exhibition, or to schedule an appointment.