The Magazine ANTIQUES, a bimonthly magazine of fine and decorative arts, and interior design, is celebrating its centennial anniversary this year with a fine arts and folk arts booth at The Winter Show. The fair has been rescheduled to run from April 1 through April 10th in the former flagship location of Barneys at 660 Madison Avenue in New York City. Featured in the booth is a painting by Andrew LaMar Hopkins entitled The Magazine Antiques: The First One Hundred Years recently framed by Lowy.
Andrew Lamar Hopkins is a self-taught southern artist born in 1977 who grew up with a love for antique furniture and antebellum architecture. At 20, he pursued his passion by opening an antique shop in New Orleans.
Andrew soon began painting works that he describes as historical folk outsider artworks; devoting himself to representing the Creole culture that has been erased in large part since the Civil War. He makes carefully researched depictions of reimagined 19th-century antebellum interiors filled with antiques and fashionably dressed Creole characters.
Hopkins is also known for his drag queen alter ego, the grand dame matron from New Orleans, Desiree Josephine Duplantier, and often depicts LGBTQ people in his paintings. The National Gallery of Art has recently accepted one of Hopkin’s portraits for its permanent collection contributing to Hopkins becoming “a rising star“ of the art world as recently described by The Wall Street Journal.
The Magazine Antiques: The First One Hundred Years prominently depicts a Joshua Johnson portrait reimagined with the sitter as a person of color as well as the first and more recent issues of the magazine, mixed with many other historic details, in a meticulously rendered interior stylistically reminiscent of Grandma Moses.
Lowy selected and fabricated a finely crafted replica of an early 20th century Newcomb-Macklin frame for the painting complementing the exquisitely detailed furniture and gilt frames rendered in the painting.
The beautiful hand-carved design and rounded profile of this frame references historic frames of the 17th -19th centuries in a similar manner to the way in which Andrew Lamar Hopkins references other historic periods with the furniture, architectural detail, and art depicted in his paintings.