artists depict the range of the human form in York

The shape of a body and the features of a face are some of the first images that fine art students learn to draw, and the figure continues to be one of the most enduring themes in the visual arts.

A dozen New England artists depict the human body in “Figuratively Speaking” through Dec. 14 at the George Marshall Store Gallery in York, Maine. It’s one of the last exhibits of the 2008 season, along with abstract paintings by Maine artist MaJo Keleshian and jewelry by Portsmouth artist Julie Schmidt, which are paired together in the downstairs of the former general store.

The artists present figures within a scene to suggest narratives and relationships that often go beyond the confines of the frame. Curator Mary Harding did not have in mind the figure in its traditional sense as model or muse, but rather the human form in action, people living life, real or imagined.

This quiet and underappreciated gallery is located on a scenic river in a historic building dating back to roughly 1867. The structure presents some challenges for hanging a large group show such as the one currently on the main floor. Still, it is well lit and easy to enjoy in the intimate spaces.      

One of the first paintings visitors notice is a large canvas by Grant Drumheller called “The Pool Room.” This is an example of the artist’s current interest in painting other artists in their personal spaces. The two women in the home are casually dressed and posed, looking almost as if their conversation were interrupted. Another one of his paintings, “Woman in the Sculpture Court,” interestingly depicts a modern woman in contrast with nude, classical sculptures.

Langdon Quin, a former University of New Hampshire art faculty member, worked from experience in “Working From Life.” The three paintings in a row offer a behind-the-scenes look at art classes with live models. Moving on to yard work in a different painting, “Pruning” shows a solitary woman on a ladder in the foreground, providing perspective for the sweeping view behind her.

The figures in Rebecca Litt’s paintings are not depicted realistically but convey real ideas. “Weightless Woman and Indifferent Men” is in gangue green zombie hues with women floating away like helium balloons, while men with their eyes on the ground seem not to notice. A similar and smaller painting of hers, “Take Off and Landing,” seems to have preceded the other, since there are flesh tones and an awareness of relationships.

The realism of the finely detailed faces of David Baker’s paintings is reminiscent of classic masterpieces, while modern settings and suggestions keep them current. “Study for ‘Nesting’” is an excellent title for an excellent painting of a woman in a dress, sitting on a couch and either putting on or taking off a heel. The square wooden frame has a silver lining that lights up the painting’s gray background. His work has a sense of intrigue, sensuality and tension.

Also outstanding but contrasting are the figurative works by Portland, Maine-based artist George Lloyd. These small abstract paintings use bold color combinations in strong brush strokes and geometric shapes alongside sketchy forms that become more apparent with the help of titles like “Coy Figure.”

The figures in Craig Hood’s canvases are so delicate they blend within the hazy atmosphere of his landscapes. Still, in paintings like “Going Home,” it’s clear that the figure is pivotal to the narration of the scene. There’s a forest to one side and a factory to the other while the man walks home in the middle.

Brett Gamache’s large, rounded figures fill the entire canvas, sometimes creating a confusing sense of depth perception. His five-foot long painting “Italians,” hung above the gallery’s entrance, seems to playfully reinforce stereotypes. Also showing people in action, Lincoln Perry captures a group jumping off of York’s Scotland Bridge in “Falling Water.” A different bridge as painted by Nancy Morgan-Barnes is a dramatic but dark image of an arrest in progress.

Three bronze sculptures by York artist Sumner Winebaum add the third dimension to this exhibition. They place small figures on or near large, strong hands as if in the care of a god.

The impressive exhibit by MaJo Keleshian in the lower gallery space is called “Passage” and is dedicated to her late husband, Sylvester Pollet. A forward-looking poem he wrote about the transition from winter to spring hangs in the hallway.

The colorful, abstract paintings are created with a unique technique using heavy paper, wax and watercolors. The result is not unlike sheets of purposefully dented and corroded metal, making the jewelry by Julie Schmidt a perfect complement. Schmidt’s handcrafted designs fuse sterling silver, copper and brass. The paintings in steel blue and rusty orange are particularly metal-like, but all of the roughly 30 works radiate with human warmth. 

Gallery hours are Wednesday through Saturday, 11 a.m. to 4 p.m.; Sunday 1 p.m. to 4 p.m. and by appointment. George Marshall Store Gallery is at 140 Lindsay Road, York, Maine, 207-351-1083. Visit www.georgemarshallstoregallery.com.