The human figure is a never-ending source of inspiration for me. In my paintings I try to create harmonious order out of the confusion and randomness of every day existence -- order in which form and content merge to create a convincing world and a believable narrative. In using classical composition, I continue in the great tradition of early Renaissance masters that I admire, such as Piero della Francesca, Giotto, and Masaccio. I also try to distill forms -- the human figure, buildings, trees -- down to their very essence. In doing so, I hope to give them an enduring presence and universality. I am interested in transposing the metaphorical into the literal and I often use both allegory and symbolism to do so. I have always been interested in the writings of Carl Jung and the idea that there is a language of archetypal images or symbols that can be interpreted universally. There are certain images that appear repeatedly in my paintings such as dogs, birds, horses and other animals, trees, hearts -- all images from everyday life but also ones that kindle deeper interpretation. The settings of my paintings are almost always gleaned from my immediate surroundings and personal experiences. In all my work, the composition is structured to support and clarify the narrative, whether it is by means of a classical frieze or an arrangement of geometric forms and linear perspective. My greatest intention, and reason for painting, is to express something both meaningful and truthful about the human condition. Education: Brooklyn College, MFA,1981 Skowhegan School of Painting, 1981 University of New Hampshire, BFA, 1979 Awards: Maryland State Council for the Arts, Individual Artist Award, 2002 Maryland State Council for the Arts, Individual Artist Award, 2000 Maryland State Council for the Arts, Individual Artist Award, 1996 Ingram Merrill Fellowship, 1987 Elizabeth Greenshields Foundation Fellowship, 1983 Skowhegan School of Painting, Scholarship, 1981 Brooklyn College, Graduate Fellowships, 1980, 1981 Max Beckmann Memorial Scholarship, Brooklyn Museum School,1981 Paul Creative Arts Department Scholarship, University of New Hampshire, 1978 Solo Exhibitions: 2003 Hidden Gardens, Tatistcheff & Co., New York, N.Y 1999 Paintings, David Findlay Jr. Fine Arts, New York, N.Y. 1999 Recent Paintings, Harmon-Meek Gallery, Naples, Florida 1997 Sense and Sensibility, Tatistcheff & Co., New York, N.Y. 1994 Toward a Peaceable Kingdom, Tatistcheff & Co., New York, N.Y. 1992 Installation, Orlando Murals, Orlando Museum of Art, Orlando, Fla. 1991 New Paintings, Tatistcheff & Co., New York, N.Y. 1988 New Paintings, Tatistcheff & Co., New York, N.Y. 1986 Warsaw Paintings, Tatistcheff & Co., New York, N.Y. 1983 New Paintings, First Street Gallery, New York, N.Y. Selected Group Exhibitions: 2002 Radically Old, Radically New, Narrative Painting in the 21st Century, School 33, Baltimore, MD. 1999 Dedicated to Art, Corcoran Museum of Art, Washington, D.C. Works on Paper, David Findlay Jr. Fine Arts, New York, N.Y. Craven Gallery, Martha's Vineyard, Massachusetts Greater Reston Center for the Arts, Reston, Va. Paintings, Greater Reston Center for the Arts, Reston, Va. 1998 Small Works, Harmon-Meek Gallery, Naples, Fla. 1997 Trees, National Academy of Sciences, Washington, D.C. Catching the Shimmer, Nancy Hoffman Gallery, New York, N.Y. Realism in 20th Century American Painting Ogunquit Museum of American Art, Ogunquit, Maine 1996 Art Sights Biennial Exhibition, Washington, D.C. Emerson Gallery, McLean Center for the Arts, McLean, Va. 1995 Peaceable Kingdom, Then and Now, Hartwick College, Oneonta, N.Y. Summer Show, Tatistcheff & Co., New York, N.Y. 1994 Getting Real: 20th Century American Realism from Philip Desind Collection Warner Gallery, South Bend Regional Museum of Art, South Bend, Ind. 1993 Summer Show, Tatistcheff & Co., New York, N.Y. 1992 Beyond Realism, Image & Enigma Southern Alleghenies Museum of Art, Loretto, Penn. 1990 Humor, Satire, and Irony: Definitions and Discoveries Krasdale Foods Art Gallery, New York, N.Y. Salon 1990: The Figure in New Painting and Sculpture The New York Academy of Art, New York, N.Y. 1988 Summer Show, Tatistcheff & Co., New York, N.Y. Classical Figures, Simms Fine Art, New Orleans, La. Realism Today: American Drawings from the Rita Rich Collection National Academy of Design, New York, N.Y. 1987 Ten Artists, Tatistcheff & Co., New York, N.Y. Modern Myths: Classical Renewal, Boise Gallery of Art, Boise, Idaho 1986 Short Stores, One Penn Plaza, New York, N.Y. 1985 The New American Scene, Squibb Gallery, Princeton, N.J. 1984 New Talent/New York, Sioux City Art Center, Sioux City, Iowa First Street Gallery 15th Anniversary Exhibition, NY. N.Y. 1983 Bodies and Souls, Artists' Choice Museum, New York, N.Y. Group Show, Tatistcheff & Co., New York, N.Y. Group Show, Brooklyn College Art Gallery, Brooklyn, N.Y. Collections: The Cleveland Clinic, Naples, Fla. Arnot Museum of Art, Elmira, N.Y. Boston College Law Library, Boston, Mass. Swiss Bank Orlando City Hall, Orlando, Fla. Williams & Connolly, Washington, D.C. Chase Manhattan Bank, New York, N.Y. Donald Oresman Readers Collection Paul Weiss, Rifkind, Wharton & Garrison, New York, N.Y. Miller & Chevalier, Washington, D.C. Van Ness Feldman, Washington, D.C. And numerous private collections Selected Bibliography: Bolt, Thomas. Kathryn Freeman, ARTS Magazine, May 1986, p. 111 (illustration) Brenson, Michael. Kathryn Freeman, The New York Times, April 26, 1991 Butler, Tom. New Talent, New York, catalogue, 1984, p. 13 (illustration) Cohen, Ronny H. The Symbolist Renewal, Drawing, September-October 1984, pp. 49-53 (illustration) Cohen, Ronny H. Art Forum, March 1989 (illustration) Donohoe, Victoria. In an Exhibition at Princeton, a Newer Realism, The Philadelphia Inquirer, June 1, 1985 (illustration) Harper, Timothy. Painting the Town, Florida Magazine, July 5, 1991 Hurwitz, Laurie S. Quoting Other Painters, American Artist, Aug. 1991(illustration) Kaufman, Michael T. Poland Displays Work of a Siberian Exile The New York Times, Aug. 6, 1985 (quoted) Koslow, Susan. Kathryn Freeman, ARTS Magazine, May 1983 p. 17 (illustration) Liebman, Lisa. Private Glimpses and Public Displays, catalogue essay New Talent, New York, pp. 17-20 (illustration) Nusbaum, Eliot. New NY Talent on View, Des Moines Register Dec. 2, 1984,p.19 Readers Digest, February 1983, back cover (illustration) Wall, Donna Dorian, Art of the Narrative,Southern Accents(illus)Nov.-Dec.2000 The Washington Times The World and I, August 1991 (illustration) Teaching: Corcoran School of Art, 1998- Private teaching, drawing and painting, 1996- New York Academy of Art, 1982-1983 Brooklyn College, 1981 Art Forum: "Kathryn Freeman reveals how it is still possible to capture the awe-inspiring sides of human experience in one’s art without falling into the pit of self-consciousness that is the bane of so many of the figurative artists working with symbolic intents. Freeman demonstrates a visionary power and passionate poetic drive in her work; she finds meaning in even the most ordinary occurrences. Inspired by her observations of everyday events, Freeman seamlessly brings together commonplace and fantastic elements. The pictures engender astonishment: they come across as utterly convincing and mesmerizing." Arts Magazine: "Freeman’s paintings are heavily counterbalanced on the side of innocence. Experience is something just being discovered, and, in the world of these paintings, discovery is still wonderful."She makes her admittedly simplified figures individual to a degree unusual in anything but the best allegorical painting because she cares for the personalities of the characters she has created. " The New York Times: "Freeman has a strong deadpan sense of humor and a chromatic, parodistic, and iconoclastic gift." American Artist: "Freeman’s keen interest in Renaissance paintings is reflected in her emphasis on scientific perspective and architectural elements. A recurring element in her paintings is her use of the checkerboard floor to establish a sense of space, which draws the viewer’s eye deeply into the painting. Freeman also refers to Renaissance works by revealing events within an enclosed building simply by removing its walls and doorways ...her pictures have a sense of timelessness."