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figurative component with abstract
backgrounds.” Havard was known for his
abstract illusionist paintings in which he
shaded forms to make the surface appear
three-dimensional. He later turned to more
richly textured works influenced by tribal
art. After a stroke in 2006, Havard taught
himself to paint again, now in smaller
formats with no diminishment in power
and passion.
In what will become Foreman’s library,
he has paired work by Warhol (1928-1987)
and Howard Finster (1916-2001). “The
hook is that there is something immediate
and accessible about their work but there
is much more when you dig deeper,” he
explains. “Warhol got beneath and inside the
American commercial culture and turned
into high art. I think 100 years from now
people will look back and realize there was
a benchmark—pre-Warhol and post-Warhol.
“Finster was a fire and brimstone
Southern preacher whom, he claimed, god
told to begin painting because no one was
listening to his sermons,” he adds. “He had
a theme park, Paradise Garden, in Georgia
and a small gift shop where he sold shelf
art with a time stamp and messages about
what was going on in the world when
he painted each piece. I’ve put his and
Warhol’s work together because of their
pop art imagery.”
He says he sells 20 percent to 30 percent
of his inventory online. “I need to be cogni-
zant of trends in the market,” he says, “but
there’s no replacement for walking into a
space, turning a corner and falling in love
with a work of art.”
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