This pastel by Jack Gates (1903 – 1997) suffers from flaked pastel and harmful acids. With a brush we were able to clear away some of the loose areas where the upper layers of pastel had flaked, particularly the white portion of the sky, which is the top of three layers and seems to be of a lesser quality as we’ve noticed it’s more prone to delaminating. We also used a scalpel to secure the areas where flaking had started. From the reverse, the work was de-acidified as harmful acids were in the board and were in the process of making their way into the pastels. Stay tuned for more. . .
An impressionist painter of landscapes, figures, still lifes, interiors, and marine scenes, Jack Gates (1903 – 1997) was known for his traditionalist style at a time when modernist, abstract work was in vogue. There is a very apparent influence of the French Tonalist painter Camille Corot.
He was born in the Ukraine and began painting as a youngster in Russia. He studied at the National Academy of Design before emigrating to New York City and attending the Art Students League as a student of Sidney Dickenson, Ivan Olinksy, and Robert Phillip.
He was a member of the the Salamagundi Club, the Allied Artists of America, the Knickerbocker Society, and the Hudson Valley Art Association. Commercially he was represented by Hammer Galleries and The Grand Central Art Gallery. U.S. Navy personnel commissioned him to paint portraits of high-ranking personnel, as did well known personalities: Bess Meyerson, Walter Matthau, and Tony Bennett.
David Shirey, a New York Times art critic, described Gates’ style as personable and inviting, and that these qualities allowed his paintings to “encourage [the viewer] to contemplate them, to walk through them without feeling cramped and to breathe freely among their trees, skies, ponds and fields.” Part of this effect Shirey attributed to the types of brushstroke Gates could employ: “a gestural Expressionist brush that cossets the surfaces of paintings but [he] can also assail them -dashing, sweeping and gliding. He governs the speed of his strokes to accommodate the mood of his pictures.”