“CORNER OF THE STUDIO”, 1990, acrylic on canvas, 54”h x 42”w  

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Quotes from Janice Lovoos, author of books about noted Southern California regional artists:

“Andree was fortunate during her learning years in having guidance from some of the most knowledgeable and progressive teachers.  To Andree, Henry Lee McFee, famous New York painter, was a gentle giant.  He showed you how to paint, rather than tell you.......Frances de Erderle, brilliant draftsman ‘taught me how to translate still life into another statement.’  He once remarked to her, ‘You could be a fine painter, but you will probably become a housewife instead.’  As it turned out, she managed both activities well........working for Millard Sheets Design:  ‘I learned to transform realistic images, with which I was familiar, into flat decorative forms, bringing depth and distance into frontal form’.  Phil Dike was known to have said,  “I believe Andrée Tolstoy Mahoney to be one of the most talented artists I ever taught.”
Paul Soldner, a well known potter and teacher, introduced her to abstract expressionism.  It was not long before her paintings also reflected a freer approach to art......Her forms were organic, the designs sometimes startling but always original.......Among the first to recognize her talent as a ceramist were the master potter, Harrison McIntosh, and his artistic wife, Marguerite who traded for a number of early pieces.  Furniture designer, Sam Maloof, purchased a sculpture for his garden. 
......The paintings in Mahoney’s 1990 exhibit display a new maturity and assurance.  With use of vibrant color and rife with imagination, ......to more controlled canvasses like (painting above of Monica) says more than meets the eye.    Despite its detailed, busy composition, it is held together with strong design.........When asked of her future direction she predicted a more spiritual approach.
Mahoney has never joined the mainstream of popular art.  She has hewn out a path of her own. 

 from catalog:  Andrée Mendenhall Mahoney, “New Work” September 10 through October 19, 1990. 
Wignall Museum/Gallery, Chaffey College.


Keeshay, ca 1997,
acrylic luster 

                                  Daughter, “Cathy Tolstoy, Age 10”                     “Jerry and Andrée on the Mountain in 1969”             
                                            oil on canvas, 30”h, 1972                                         acrylic on canvas, 54”h, 1974

Cathy was modeling for my painting class at Chaffey College when the cat jumped on her lap.  Painted spontaneously and quickly as a demonstration, the model and her new friend gained patience.  The costumed couple was painted from a photograph taken on our wedding day.  

photography by Andree M Mahoney and Catherine Tolstoy

Continuing with Social Comment, the items selected for this still life painting  are collected from travels in Mexico and Egypt.

The tourism trade, vital for local economies, produces many intriguing packable objects.  To what degree do they celebrate a native tradition and please the tourist’s eye? 

Goat fur, woven materials, glass, and paper maché replicas of native fruit and flowers give a cheerful array of textural and colorful forms.  These are integrated into an abstractly woven and color/shape constructed painting. 

The furnishings are antiques from my grandparents’ collection.

The bird tapestry (upper center right)

was woven by an under age girl in Egypt.   She was delighted with our visits.  Any questions of child labor violations were unnoticed at the factory.

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                       Son, Michael, 9 years old,1979, stoneware sandblasted➔

                                            Marie, Chaffey College employee, stoneware, acrylic luster➔


acrylic on canvas, 3 panels 54”h x 42”w each, total width 10.5’

Accompanying our daughter, Monica, as she exits her place in my painting are symbols of three stages of Womanhood:   the blossoming young adult, items from world travels, and the Wise One Crone masks, watching over Monica as she fulfills  the  image of the adult woman.  The reflective mirror is repeated twice, as are the fish and the cabbage rose, symbols of everlasting life.  The flight of the birds from the carpet woven in Egypt join her in three repeat patterns.  Grandpere’s night stand holds symbols of fruition, repeated three times.