For nearly twenty years, we have been sharing stories about the remarkable special exhibitions at the de Young, the Legion of Honor, and the Crocker. Last month, we spotlighted the Legion of Honor. This month, we’re reflecting on past exhibitions at the Crocker, and next month, we will revisit some highlights from the de Young. The effort behind these museum exhibitions is truly extraordinary. Bringing world-class art—and the narratives behind it—to Northern California requires vision, persistence, and a great deal of creative problem-solving. Without these exhibitions, many of us might never have the opportunity to stand before such masterpieces.

Behind the scenes, it’s a total whirlwind—researching, lining up loans, safely shipping priceless pieces, and crafting displays that pull us in and make us want to pause, ponder, and just soak it all in. It’s wild when you think how many of the world’s greatest artworks have come to our local museums. We’ve been lucky to catch them without hopping on a plane—and it’s all thanks to the folks working their tails off behind the scenes.

Tucked in the heart of Sacramento, the Crocker is the oldest public art museum west of the Mississippi—and that’s not just bragging rights. Judge Edwin B. Crocker and his wife Margaret kicked things off in the late 19th century, collecting art during their European travels from 1869 to 1871. When they got back, they built a fancy Italianate mansion with an art gallery attached, which opened in 1872. In 1885, Margaret gifted the home and that eye-popping collection to the city of Sacramento, turning it into a public gallery.

Fast forward to 2010—the museum got a major glow-up with its new Teel Family Pavilion. This modern addition tripled the gallery space and gave the Crocker way more room for exhibitions and community events. Today, you’ll find everything from Gold Rush–era California scenes and European masterworks to Asian artifacts and international ceramics. It’s a space where history and creativity overlap—thanks to a legacy that’s been thoughtfully nurtured for well over a century. With its mix of permanent treasures and rotating exhibitions, the Crocker has become a cultural hub for art lovers all across Northern California.

Below are sktetches of six past Crocker exhibitions I thought were outstanding. I have included several of my favorite paintings from each exhibition.

Armin Hansen: The Artful Voyage was the most comprehensive retrospective of Hansen’s work ever assembled. Born in San Francisco in 1886, he settled on the Monterey Peninsula in the 1910s where his vivid depictions of fishermen and the restless Pacific, rendered in a daring palette and expressive brushwork, earned him national acclaim. Deeply engaged in the Monterey and Carmel art community, Hansen taught many students during what became known as “Monterey’s Golden Age.” He served in leadership roles in the Carmel Art Association, and co‑founded the Carmel Art Institute in 1937, helping shape a new generation of California coastal artists

Armin Hansen’s Jeweled Waters distills his maritime vision. This vibrant interplay of boats and shimmering harbor surface painted with a limited but powerful palette—turquoise, cobalt, indigo, ochre, and a touch of “Hansen red” captures light, movement, and depth in equal measure. The composition juxtaposes a dark, almost abstract foreground with an animated middle ground of bobbing vessels under a calm sky, emphasizing Hansen’s ability to dramatize subtle forces of water and light.

Men of the Sea is a powerful oil painting showing two fishermen walking through the hills above Monterey toward the harbor. Hansen was deeply connected to the sea—he’d spent years working on North Sea trawlers and lived in Monterey among the local fishing community—so his work feels both realistic and full of respect. His bold brushstrokes and strong colors bring out the tough, gritty life of these fishermen, while the bright red shirt in the painting injects energy and warmth into the scene.

Armin Hansen’s Kitty and the Blue Wagon (also called The Farmhouse) is part of the Irvine Museum’s collection. It shows a young girl, likely named Kitty, standing next to a bright blue wagon in front of a farmhouse—a calm, intimate glimpse of everyday rural life in early California.

At about 30 × 36 inches, this oil painting reflects a quieter side of Hansen's art, quite different from his more famous stormy seascapes and fisherman scenes. Though best known for his bold marine work, this piece highlights his versatility, warm use of color, and skill at creating a narrative rooted in place and character

The Crocker's 2018 show E. Charlton Fortune: The Colorful Spirit was a really eye-opening look at one of California’s boldest but often overlooked artists. It brought together about 85 of her pieces—from her vibrant Monterey landscapes and colorful European scenes to the detailed religious designs she made later in life. Fortune’s energetic and expressive brushwork was so strong, people often assumed it was done by a man. Curated by a veteran curator of the Crocker over the last quarter century, Scott A. Shields, the exhibit showed how E. Charleton Fortune carved out her own unique path—starting as a plein-air painter, then moving into church design—and helped highlight her lasting impact.

Back in May 2017, Linda and I visited Scotland, and checked out Edinburgh's impressive medieval castle. We really love Fortune’s Edinburgh Castle (circa 1921), which captures the fortress with her trademark bold colors, lively brushstrokes, and clear structure. The painting shows the castle perched dramatically above the city, with a solid, heavy feel that contrasts against a loosely painted foreground and a lively, expressive sky. She perfectly balanced architectural strength with painterly freedom. The piece doesn’t just show the place—it captures the mood, blending Impressionist light with a modern, almost sculptural form. It’s a great example of how she made a historic site feel both timeless and alive.

From Telegraph Hill gives you a higher-up view of San Francisco Bay from one of the city’s most famous spots. You can really feel the movement in the way Fortune handles the paint—like a breeze off the water, the busy city below, and that constantly shifting California light. Instead of going for exact details, she captures the vibe of the scene, mixing realism with her own modern, personal take on the place. The result feels both cozy and grand—a snapshot of the city seen through the eyes of someone totally in tune with its energy and mood.

Granville Redmond: The Eloquent Palette ran at the Crocker Art Museum from March 8 to November 1, 2020, showcasing over 85 works by the celebrated California Impressionist. Unfortunately for this exhibition, the World Health Organization (WHO) declared Covid to be a World Health Emergency. But fully masked and vaccinated, we went anyway.

The exhibition traced Redmond’s evolution from moody Tonalist scenes to his iconic, vibrant landscapes filled with poppies and coastal light. It also highlighted his remarkable life as a deaf artist and his friendship with Charlie Chaplin, who supported his art and gave him roles in films. Despite pandemic-related interruptions, the show offered a rare and moving look at how Redmond expressed emotion and connection through his "eloquent" use of color and light.

Golden Morrow beautifully showcases his mature California Impressionist style with vibrant golden poppies spread across rolling hills under a soft, luminous sky.

Created near the end of his life, the work highlights Redmond’s masterful use of color and light, blending rich yellows and oranges with delicate purples and pale blues to create a joyful yet serene rhythm. As a deaf artist who expressed himself visually, Redmond imbued the landscape with emotion, capturing a peaceful timelessness and hopeful energy that resonates powerfully without words.

Poppies on a Hillside is a stunning example of his deep connection to the California landscape and mastery of light and color. The painting captures a vibrant hillside blanketed with brilliant orange poppies, glowing warmly under the clear, bright sky. Redmond’s brushwork conveys both the delicate texture of the flowers and the gentle undulations of the terrain, creating a sense of movement and life. Like much of his work, this piece reflects his ability to transform a simple natural scene into a lyrical, almost musical composition, full of emotion and quiet joy. It’s a vivid celebration of California’s wild beauty, infused with Redmond’s unique sensitivity and poetic vision.

Monet to Matisse: Masterworks of French Impressionism from the Dixon Gallery brought together about 50 original works — everything from serene landscapes to bustling Paris street scenes — by legends like Monet, Renoir, Cézanne, Sisley, Rodin, and Matisse. The show traced the exciting evolution from early Realism to Impressionism and on into Post-Impressionism. It was also a first for the Crocker: never before had the museum hosted works by the French Impressionists.

Claude Monet’s Port of Dieppe, Evening captures the Normandy harbor at dusk, with the water shimmering in soft pinks, oranges, and greens that mirror the fading sky. In the distance, the sun slips behind the bell tower of Saint-Jacques. Monet painted it during a quick February trip to Dieppe, but it’s pure Monet — his lifelong fascination with shifting light and atmosphere turning an ordinary seaside town into something magical in muted twilight tones.

Pierre-Auguste Renoir’s The Picture Book is a cozy, intimate glimpse of a young girl lost in the pages of a colorful book. Rosy cheeks, soft brown hair, and a look of total focus give her an air of pure childhood innocence.

The girl is thought to be Julie Manet — daughter of Berthe Morisot and Eugène Manet — and one of Renoir’s favorite subjects at the time. A close family friend, he often painted Julie in tender, everyday scenes like this. Here, his loose brushwork, glowing colors, and gently modeled forms show his late style — less about quick Impressionist sparkle, more about classical grace and emotional warmth. It’s a simple moment, but full of affection and timeless charm.

 

Phil Dike wasn’t a WPA artist, but his work belongs to that same era. By the mid-1930s, he was already established — teaching at LA’s Chouinard Art Institute and working at Disney Studios. In Back Country Conversation, Dike captures a moment of change: cowboys silhouetted against the glow of a gas station. The age of horses and hitching posts is giving way to the era of gasoline and automobiles.

Conrad Buff is best known for his stylized views of the desert Southwest. Early in the Depression, he met fellow artist Maynard Dixon. Buff’s Red Arch Mountain, Zion National Park is reminiscent of his Canyon de Chelly in the Crocker’s collection. Both scenes are just a drive away from Dixon’s home in Mt. Carmel, Utah — a place where Conrad and his wife Mary often visited.

Millard Sheets was one of the big names in California Scene painting, and he didn’t shy away from social or political themes. In Alcatraz, he paints a moody view from San Francisco — the Bay shrouded in clouds, the prison buildings on the island barely taking shape. A ship and tugboat make their way toward the Golden Gate, adding a sense of quiet movement to the scene. Sheets entered this piece in San Francisco’s 1939–40 Golden Gate International Exposition.

The Crocker not only has exceptional special exhibitions, but it also maintains an ever-growing permanent collection, featuring many of California's legendary artists.

Jules Tavierier's Marin Sunset, Back of Petaluma 1880 employs a luminous sky and a darkened landscape to evoke a sense of tranquility and timelessness. The soft orange and pink hues of the sky suggest the fading light of sunset, while the silhouetted hills and trees in the foreground create a peaceful contrast. This interplay between light and shadow enhances the emotional depth of the scene, inviting viewers to reflect on the fleeting beauty of nature. Tavernier's use of this technique underscores his mastery in capturing the essence of California's landscapes during the 19th century.

In the early 1890s, John Marshall Gamble spent time in Brittany, France, where he painted Milk Maid, This painting features a Breton milkmaid wearing traditional wooden shoes, reflecting the attire of the laboring classes in Brittany. Gamble's time in Brittany influenced his work, showcasing his ability to capture everyday life with a blend of realism and Impressionist techniques. Milk Maid was exhibited at the 1894 California Midwinter International Exposition in San Francisco's Golden Gate Park.

Gamble was notably influenced by French Impressionist painter Claude Monet. Although there is no record of Gamble and Monet ever meeting, Gamble came to know of Monet while studying at the Académie Colarossi and the Académie Julian. He was fascinated by Monet's innovative use of light and color, which deeply impacted his artistic approach. This influence is evident in Gamble's later works, particularly his vibrant depictions of California's wildflowers and coastal landscapes.

E. Charlton Fortune’s Wine Cargoes exemplifies her mastery of color and composition. Here, a lively harbor scene shimmers in the rich colors and dynamic light of the Mediterranean coast. The painting features a bustling dock filled with sailboats and figures engaged in the unloading of wine barrels, reflecting the region's prosperous maritime culture. Fortune's use of bold brushstrokes and a vivid palette brings the scene to life, conveying both the energy of the moment and the warmth of the coastal environment.

Santa Rosa's Calabi Gallery is closing at the end of August. Our great friend Dennis Calabi, a long-time Sonoma County art conservator and gallerist, has loved art his entire life and he will continue as an online gallery, meeting clients by appointment.

Saturday August 30, he is hosting a Closing Reception at his gallery from 3:00 to 7:00pm, where he, his friends, clients and artists will toast the end to this segment of Dennis' career.

We encourage you to attend. Enjoy a glass of wine, some chocolate, and ... perhaps buy a piece of art.

What's next? In the short term, in September Calabi Gallery will be open by appointment, a time when Dennis will offer his clients selected items from his extensive collection. Beyond, he will focus on his work as a conservator, restoring paintings for clients near and far while meeting clients via his Calabi Gallery website. https://calabigallery.com