“Life With­out Art is like Din­ner With­out Wine. Why Bother?”

Luxe Beat Magazine - - Contents - By Linda Cor­dair

As premier Cal­i­for­nia winer­ies con­tinue to make a fine art of cap­tur­ing the fruit of the vine’s nu­anced and de­lec­ta­ble fla­vors, per­haps it was in­evitable that a sin­gu­lar artist would even­tu­ally emerge, one whose skills would be a per­fect pair­ing with the sub­ject at hand. Thomas Arvid, rep­re­sented by Quent Cor­dair Fine Art in Napa, has been cred­ited with launch­ing an art trend that re­volves al­most com­pletely around the prod­uct that is the heart and soul of the wine coun­try. De­light­ing wine and art con­nois­seurs alike, Arvid’s mouth­wa­ter­ing, over-size still lifes fea­ture wine and the rit­u­als sur­round­ing wine, the in­tri­cate de­tails of which are brought to life with a mas­tery of light, depth and re­flec­tion - and have gar­nered world­wide at­ten­tion and ac­claim.

Doug Shafer, of Shafer Fam­ily Vine­yards, likens Arvid’s skill to that of the best Napa wine­mak­ers. “Arvid’s style is big and bold, with enough se­lected de­tail and soft­ness to cre­ate a sense of bal­ance ... this blend of el­e­ments is pre­cisely what wine­mak­ers hope to bring to their top vin­tages.” ,nᦑxh­n­tiao Zinhrihv VXFH av 6IOYHR 2an Cel­lars, Far Niente and Di­a­mond Creek Win­ery col­lect Arvid’s work, with USA To­day declar­ing in 2000: “What the Dutch masters did for clus­ters of fruit, Arvid is do­ing for the fruit of the vine.”

The power of Arvid’s work lies in his unique abil­ity to vi­su­al­ize and evoke a plea­sure-in­fused at­mos­phere be­yond the frame, to sug­gest a story of sensuous en­joy­ment and the good life. Pas­sion­ate about art and wine him­self - he’s an ar­dent col­lec­tor of both - Arvid strives to cap­ture, on each can­vas, the plea­sure of life well lived, while in­sist­ing that the wine it­self, as a sub­ject, should re­main ap­proach­able. As such, his paint­ings are an em­bod­i­ment of the more ca­sual and nat­u­ral way that Amer­i­cans have come to en­joy wine to­day, as a nat­u­ral and ex­pected el­e­ment of din­ing and en­ter­tain­ing.

Raised in a blue-col­lar fam­ily just out­side of Detroit - his fa­ther was

a fore­man at a Gen­eral Mo­tors plant - Arvid cer­tainly wasn’t raised an ohnosh­ioh thhrh ZHRH no Foffhh ta­ble books on great art, only the con­stant blue-gray of steel and grit. Yet as far back as he can re­mem­ber, he al­ways knew he wanted to paint; wher­ever there was a blank sur­face, hh ZOXOG EH FOMSHOOHG to ᦐOO it (aroy in his ca­reer, he rec­og­nized that the more suc­cess­ful artists had not only ta­lent and skill, but also a niche. He em­barked on what he refers to as his “red pe­riod,” ded­i­cated to paint­ing all things red: crushed Coke cans, Ra­dio Flyer wag­ons, Con­verse ten­nis shoes. The re­cep­tion was pos­i­tive, EXT not Sroᦐ­taeoh 2nh HYHNINJ av he was paint­ing a bot­tle of red wine, a fan en­thu­si­as­ti­cally in­sisted on pur­chas­ing the work even be­fore the paint was dry. Af­ter sev­eral more such re­ac­tions to the sub­ject of wine, the artist re­al­ized he had found his niche. Twenty years and count­less bot­tles and com­po­si­tions later, Arvid now owns his own im­pres­sive cel­lar, “built with room to Jroz into ܣ ᦐOOHG Zith Yin­ta­jhv Irom around the world, in­clud­ing some of his per­sonal fa­vorites: Har­lan (Vtathv 6Fhraghr 6Frham­inj (AJOH ang 6IOYHR 2an

The artist wants to make a last­ing con­nec­tion with those who en­joy his work, to have some­one walk by one of his paint­ings and sud­denly dis­cover some­thing fa­mil­iar in his work, some­thing pre­cious and in­ti­mate that has drawn the viewer. In his view, the art of grow­ing and har­vest­ing grapes is rem­i­nis­cent of a sun­set, with each vin­tage’s end Sroyig­inj a Fhanfh to RHᦑHFT on thh day’s labors and the prospect of start­ing anew on the next adventure wait­ing on the hori­zon. Hav­ing ded­i­cated years to the craft he loves, he con­tin­ues to be en­thralled by the prom­ise of a new ex­pe­ri­ence each time he ap­proaches his easel. “I

think my pieces are suc­cess­ful when I can evoke an emo­tion, mem­ory or thought in a viewer. Wine and art are ve­hi­cles to com­mu­ni­cate the plea­sure of the hu­man ex­pe­ri­ence.“

As jour­nal­ist Gabriel Diego Del­gado of La Prensa de San An­to­nio wrote: “Arvid wants the au­di­ence to have a sense they can me­ta­phys­i­cally reach into his paint­ing and pick up the glass and drink the wine, with­out feel­ing self-con­scious about an un­der­ly­ing ‘Do Not Touch’ taboo.”

Self-taught, the artist re­mains awed by the re­sponse to his work. “Wine is such a spe­cial sub­ject for those who ap­pre­ci­ate it, for those who con­nect with the in­ti­macy of the wine ex­pe­ri­ence and all the great feel­ings and as­so­ci­a­tions of en­joy­ing wine with friends and fam­ily. I think that my paint­ings are like land­scapes for wine lovers, and it couldn’t be more won­der­ful for me that my col­lec­tors ᦐng VXFH Shrvonao Hn­moymhnt in my work, es­pe­cially when I’m just do­ing what I love, about a sub­ject I love. “

Un­re­strained by con­ven­tional for­mat­ting lim­i­ta­tions, the di­men­sions of Arvid’s clas­si­cally com­posed works are de­ter­mined solely by that which he feels best re­veals and ac­cen­tu­ates the at­tributes of the im­age’s con­stituent el­e­ments. For larg­er­scale work, sell­ing cur­rently for up­wards of $100,000, there is a four-year wait­ing list, but aᦐ­fion­agov Fon­vighr $ryig mas­ter­pieces well worth the RHTXIRHG Sati­h­nfh av Ior thh ᦐrvt taste of an an­tic­i­pated, rare vin­tage of a fa­vorite la­bel.

For­tu­nately for Arvid fans, lim­it­ededi­tion prints on pa­per and can­vas are also avail­able for many works, with prices start­ing at around $700. 2Ithn aithr Fom­so­ht­inj an ori­ji­nao paint­ing, Arvid will cre­ate a high­res­o­lu­tion scan of the im­age which is then used to cre­ate re­pro­duc­tions,

lim­ited in num­ber to as few as 20 or as many as 460, each per­son­ally signed and num­bered by the artist. 2n VSHFIAO hang HMEHOOIVHHG artivt proofs, the artist adds sur­face tex­ture and high­lights.

2YHR thh yharv thh SRHVV ang Fri­tifv have been lauda­tory and ap­pre­cia­tive:

“His name is Arvid and he has found his call­ing: cap­tur­ing wine bot­tles on can­vas.” – Los An­ge­les Times

“With an un­par­al­leled zest for cel­e­brat­ing the good things in life, Arvid recre­ates for us the spe­cial con­nec­tion shared when friends get to­gether.” – Wine Coun­try News

“Thomas Arvid has made a name for him­self as the pre­em­i­nent pain­ter of wine.” – Art Busi­ness News “I paint wine be­cause I love wine,” the artist ex­plains in sum­ma­tion, “and art is an ex­cel­lent medium for shar­ing that love with oth­ers. I hope that by ex­plor­ing my work you can get a lit­tle closer to the feel­ing you have when you’re en­joy­ing a great glass of wine. For me, life with­out art is like din­ner with­out wine. Why bother?”

Thomas Arvid’s avail­able work and port­fo­lio are on view at Quent Cor­dair Fine Art in Napa, Cal­i­for­nia, as well as on the gallery’s web­site at www.cor­dair.com. To pur­chase any of Thomas Arvid’s paint­ings or to dis­cuss com­mis­sion pos­si­bil­i­ties, please con­tact the gallery at 707-255-2242.

All im­ages ap­pear­ing in this ar­ti­cle are the prop­erty of Quent Cor­dair Fine Art and the artists they rep­re­sent. The im­ages are pro­tected by U.S. Copy­right Laws, and are not to be down­loaded or re­pro­duced in any way with­out the writ­ten per­mis­sion of Quent Cor­dair Fine Art, 1301 First Street, Napa, CA 94559. Copy­right 2014 Quent Cor­dair Fine Art – All Rights Re­served.

Wind­ing Down by Thomas Arvid

Thomas Arvid at the easel

ABOVE Doc­tor’s Or­ders by Thomas Arvid

RIGHT You’re Two Kind by Thomas Arvid

Just in Case by Thomas Arvid

BE­LOW O What a Night by Thomas Arvid BE­LOW-CEN­TRE Per­fect Bal­ance by Thomas Arvid

BE­LOW-RIGHT Up­lift­ing by Thomas Arvid

Well Trav­elled by Thomas Arvid

BE­LOW-RIGHT Golden Op­por­tu­nity by Thomas Arvid

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