it's summertime in the bay area and the time turns to art with the beauty of art and joining us today is mr. regard a friend of mosaic over the years and he is the creator and he is here to talk to us about a show that's going on in the friends of the fine arts and then we're going to talk in the second part with melissa and a show that's also at the fine art's museum and good stuff to go out and see it.

timothy, welcome back. >> thank you. >> it's a familiar name and it's a much beloved hometown area in the bay area and san francisco. he grew up in the neighborhood and grew up in lull high school and went to cal and the art institute. he is born and bred in the area and a product of the nature and culture of asan francisco bay area. it's deinvolved to the berkley years and this is really the period when richard becomes richard. he spent 13 years and created expression works and also some what exprizing and then he made the switch three years in 1956 to figuration. these are the other aspects of his work that are known to us

today. >> so will i know him if i see one of the paintings on the screen here? >> yes, absolutely. we can look at some of those imagines and we will first and it's one of the most beautiful expression works and it's a work oned by the fine art museum and their numbered and that suggests that they were part o of the totality of the total group of works and they have an awful landscape feeling but one of the landscapes was seeing studies for this work that revealed that this was a human figured within the body or landscape. >> tell me what i am seeing here? >> well we're seeing a work of art that's three bands and he lived in the berkley hills so he had that amp theater life and middle ground bay and then

of course the high horizon line. there's also the figure from looking at the other studies that the oval and then the two breast like forms are a female figure. we know from the other works and in this work we were able to do the 1950s. this is 1953 and that's the defuse the figure. >> how big is that painting? >> this is about 4 and a half feet tall. you really feel almost life size. >> so when i see it we can see the woman in all of this. >> absolutely. >> so he is working in oil? >> yes, he is working in oil but one of the great craftsman.

both from live model in the studio and he did with david park and two other famous and they would hire a new model together because it was less expensive to do that and many of those beautiful figures are in there as well. >> can we see another one as well? >> yes, absolutely. we're going go to berkley 44. this is the abstract painting and users feel strongly and the beautiful green like fields and the blue in the middle and they often feel like bodies of water and this work was actually reproduced in an article called look of the west inspires new art. they have a photo of napa valley. i think viewers feel that this

is the meeting of earth, sea and sky that we experience here in the bay area. >> it's where we live. >> yeah, it's where we live. >> okay. so he is numbering each of these works and again to do you believe back. we're focusing on the berkley years. >> there are 130 works and it's a nay which are. there very other exhibitions and this is the fist one to really focus on this period in his career where he becomes a nationally known artist. >> another one. can we see another one? >> absolutely. then you would think that it was a split personality and this is the same artist in 1959 and only five years later and

it's called figure on a porch. it's one of the things that he does best and that's to capture the sensation. all five are activated here and you feel that it would be barefoot on a porch and the beautiful warm sunlight infusing the whole and it looks to the river and it has all the sense of promise and hope of a new day and it's completely an imaginary landscape. he never stood and painted a subject. it's all drawn from his imagination. >> i am going to go and look for that. [ laughter ] >> yeah, you want too. >> yeah. >> let's do another. >> okay. this is the work that's called and it was behind a bar and

right under ground now somewhere under the stop and torn down in the 1960s but what is wonderful is the studio going back through time and has been the locus of the life of the artist. at the same time in wonderful sense that you get through the open doors is really a metaphor for the studio of the realm of artistic creation is like the artist mind and that's the interior life of the imagine nation and then the exterior word is the observed word and the word that might be a subject if and when he leaves the studio. >> where did this start and how did you get it here and what do you do to bring these things? >> well, it's a major undertaken and a team effort. this was several years in the planning and because we are recognize that this period had

not had one or a publication, we have a beautiful book devoted to the book this period and this became a primary focus and we're here in the bay area and we're a recognized museum and pay respect to local artists that's part of the cultural landscape many of whom will love and feel like it's an old friend and others whom he is a revelation. >> going on now? >> yes, at the museum through sent 29th. >> okay. so plenty of time to go. timothy is going to be with us and we're going to talk about the show and then put them together in the third segment. amazing amount of information in a short amount of time. >> absolutely.

>> stay with us and we will be right back. ♪ [ music ]♪

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[ hero mom ] oh, yeah. we're gettin' cereal. 'cause over 40 general mills cereals are 130 calories or less per serving. just look for the g. boom! that's how nutrition is done, people. [ laughs ] ♪ [ female announcer ] hey ladies. you love it. you've got to have it. cinnamon toast crunch, 'cause that cinnamon and sugar is so irresistible. everybody craves those crazy squares.® summertime in the bay area and we're talk ugh act the art that will fill your soul and you should go and see them.

melissa is here with us and she is the assistant of the creator art and it's the show and welcome. we appreciate you being here. >> thank you. >> impressionist on the water just makes you happy to think about it. >> i am so glad. it makes me happy as well. >> tell us about this. >> well we see this as a nice comp rollament and the american cup stanly races in san francisco bay this summer. we wanted one that would appeal to art lovers alike. i think this does perfectly. >> okay. so let's get to an image and you can tell us about this and talk to us about it being apart of this. >> this is the first one to see and it's comes from the permanent collection, so you

might recognize it. this is a painting that was important because what he is doing in the year that he painted it 1857 is that he outfitted an old ferry boat into the studio. he is looking into the world around him and painting on the water in his floating studio. kind of of like the help boat. >> yeah. >> he is taking it up and looking around the world. >> yeah, 1857. >> i thought that impressions had little dots and things like that. >> yeah, it looks to him as an example of what he will be doing in 1870s or beyond. >> let's look at another image then. >> okay. >> yeah, go. >> so this is another picture at the fine art's museum and you get this perspective that you're on the water. he is looking to the example and he also using a floating

studio and then like you're surrounded by the water that he was painting from the floating studio as well. >> find of frame them in time and what makes someone an impressionist and all of that. >> yeah, in france the way to get trained was to go to the national government sponsored school for training artist, so you would have all the studies and submit work and if you got your paintings exhibits at the salon, you could sell the work and make a living. now they were painting something so different from what the sea sanctioned so they said the heck with this and we will create our on group shows that they had eat starting in 1874 ask and though said we want to paint outdoors and

paint the word as we see it around us. >> so remind us what ordered the impressionist and what names would we want to do? >> well this really presents a whose whose. so you have an artist known sicily and one of the most important painters is an artist named and i know that we have an image of his but he might be looking at that later. >> he is really like the rock star of the show. he is a wonderful painter but designs boats and sails them himself. >> okay. another image. >> here is him in the boat named the roast beef. it must have been a good inside joke but we're looking at the helm of the boat and if you look very carefully when you come to see it, you will see

that he is maneuvering it and he is saying that i design the boat and it's easy to sell. >> so he is showing off a little bit? >> yeah, he is showing off. >> so what makes an impressionist an impressionist. what are the aspects? >> well, almost really denying the hand of the artist in my sense. you would not be able to see the brush work. with impressionist you see that they have taken the heart and you really see the sense of movement and light and atmosphere. >> when we see another one and so it's outdoors and where are all of these painted? >> these are from shot two and this is a really important aspect of the time period and

the exhibition because for the first time really in history people would get outside by taking the train and it's radical to think about a journey that would take multiple hours and be taken quickly to get to the suburbs and go sailing and come back to paris in the same day. this is the location and it's a suburb and then we're looking at a boat called the gig. there's already one setting in the boat and then another. now we have a life size gig so when you come. >> yeah, i can see that. >> yeah, so you can remember that boat. it was oned by the author and so you will be able to look at this painting and to see this real boat at the entrance to

the show. >> great. how did this come together? >> well we had three guest creators and they proposed it to us about two years ago and then we realized that this was the perfect to bring to the audience in the stanly cup races. >> there you go. you're from where? >> i grew up about an hour and a half from here right on the water. >> okay. so you're there. why did you decide to be a creator and another a surgeon or something? >> well i love what i do so much. for anybody that's written a term paper you may have to remember that you have to have illustrations. it's like writing it and you get to illustrate it with the works of art. we get the tell the stories about the moments in history and bring them alive. it's existing and a great honor to do that. >> tell us about one more image.

let's see it. >> this is a perfect image too wrap up the conversation. this is very much what we will be seeing on the san francisco bay this summer. it was an important location because when they wanted go and watch these sailing races this point at the river was the widest and the deepest. it's really where all the races were taken place at the time. >> that's what we're seeing here. >> yeah, in full sail and motion and gathered on the banks and watching them and cheering on for the favorite boats. maybe the roast beef. >> how many images in this exhibition? >> there are 85 and it's important to remember that that are paintings and works of art and full size boat models. there's really different materials in the show. >> where is this? >> they legion of honor.

>> okay. still time. timothy is going to come back and impressionist on the water go see it. we will be right back. ♪ [ music ]♪

goodnight. thanks, olivia.

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♪ [ music ]♪ we're talking in the summertime about the fine arts museum and two great shows that are going on now and impressionist on the water and richard for the berkley years and a narrow sort of thing. timothy grew up around here. tell us something. >> yeah, he did grow up ashed here. one of the first art experiences was at the lee gin of honor and his grandmother took him to see the very first van go exhibition. his very vivid memory that introduced van go who is know an icon to the american public was that the tour group going

through was laughing at these paintings as not being art. more over the tour guide was laughing at the works. i find the story fascinating because it was a post impressionist and each of those artists were considered quiet radical and possibly suspect in their day and yet of course over time this is what happens through the ground breaking and like richard and the berkley years and you really get this accumulation of scholarship and great works of art and new eyes and perspectives that move the artists from the margins of the society to the absolute center. i have always been struck by this because one of the take aways that he got from the experience of course was that the public was quiet fickle and that today's star of the art world might be tomorrow's has been. it's one of the reasons that

you follow the star and on path was that it was abstract art and he went back and forth between those styles four times. 've time running counter current to the art world. this is the great take away from that. >> and he is huge now. >> yeah, he is. we have example itself in our country like the barns collection in philadelphia. there's been a well documentary about this. he formed his on museum but before he founded it, he offed it to the philadelphia museum of art. this is a collection with over 80 and all the artists were impressionist on the water and the founding fathers o of the philadelphia art museum said no, these are not significant artists and a little bit

suspect. no thank you. we don't really want them. i say this because this is in the 1920s and 30s and it's not that long ago. over time these things move today the main stream. this is one of the great functions of the sir rices of art and radical art movements is that they change the way that we think and the way that we see the world around us. >> how do impressionist see the world? >> well, even though that it's a movement that so beloved today we hear impression i am and we think that we know it well but it's important to know that it was pretty reviled by critics and even other artists so the fact that it's a well loved term, you really have to think about it in the context of the 19th century. there were so many paintings that were rejected by the sea

screen they put it together with refused painting and it was not understood or really loved. >> these paintings on the water come from all over. where do they live usually? >> all over the world. we have paintings coming and some coming as far as stockholm and the netherlands and private selections and some that people have never seen before. >> so they're here and available to us and the fine arts museum in san francisco. if you don't know it you can go to the website and that's fine arts famf s.org. you can be a member and get a neat magazine and come out and do it. >> timothy and showing when? >> through sent 29th in golden gait park. >> okay. and mel lisa. where sit and for how long?

>> through lincoln park. >> okay. go out and see it and enjoy the cup and go out and see the impressionist. thanks for joinening us and enjoy the summertime and we will be back next month. ♪ [ music ]♪

♪ [ music ]♪ welcome to bay sunday i am your host and we begin with the pitch if you have an idea for the show, we would love to hear from you. go to kpix and scroll down to bay sunday. what better way to end the day than to read a book with your child. where did the inspiration came from on this book? >> well it started off as a journaling exercise to document her fascination with tails