AT­MO­SPHERIC LANDS Col­lec­tor’s Fo­cus: Land­scapes

American Art Collector - - Contents -

Alan Bray was born and bred in Maine. He be­came in­ti­mately aware of the sea­sonal nu­ances of its land­scape. He stud­ied art in Bos­ton and dis­cov­ered a new world of art in Florence where he learned to paint in egg tem­pera. He brings the an­cient tech­nique and the vis­ual in­sights of the Floren­tine mas­ters to his in­ter­pre­ta­tions of the com­mon things in the land­scape. His paint­ings do not ex­press won­der at the grandeur of na­ture. Rather, they sin­gle out the won­der of sim­ple odd­i­ties most of us would miss. Ice Dam, 2017, is a scene many of us have never ex­pe­ri­enced either from above, Bray’s point of view, or at wa­ter level. I was once warned by the po­lice to evac­u­ate be­cause an ice dam had formed on the river near my house and the river would flood. I didn’t and it didn’t. Ice dams, though, can pose great threats and cause ter­ri­ble dam­age. Bray records the phe­nom­e­non as one of the won­der­ful com­mon­places of na­ture. Spir­i­tu­ally in tune with the com­mon­places, he paints im­ages of deep beauty.

Diana Moore is known for her fig­u­ra­tive sculp­ture in­spired by the sculp­ture of an­cient worlds—mon­u­men­tal con­crete heads of Jus­tice and lit­er­ally stat­uesque

fe­male fig­ures in car­bon steel. Fly­ing in and out of Lafayette, Louisiana, for a com­mis­sion, she be­came fas­ci­nated by the pat­terns of the land­scape. Later she looked at Google Earth im­ages of the area. “I dis­cov­ered stun­ning lit­tle com­po­si­tions of won­der­ful color, form and tex­ture,” she says. “These sec­tions, when framed out from the sur­round­ing ar­eas, were very ab­stract, of­ten sug­gest­ing an en­tirely dif­fer­ent read­ing of what they rep­re­sent. That was part of their ap­peal for me. Al­though each is a fairly ac­cu­rate por­trait of a real piece of the earth, they of­fer al­ter­na­tive ways of see­ing.”

She dis­cov­ered that “These fields, forests and bod­ies of wa­ter are con­fig­ured by prop­erty lines, the lay of the land and by the most ef­fi­cient use of that land for agri­cul­ture with no con­sid­er­a­tion for their aes­thetic ap­peal from above.”

Her “Earth Etch­ings” are com­posed in clay and cast in For­ton MG, a mix­ture of ce­ment, plas­ter, glue and fiber­glass that she col­ors with dry pig­ments and glazes.

Turn­ing from the cel­e­bra­tion of the com­mon­place from above, Thomas Pa­que­tte finds the soul in the or­di­nary— coun­try roads near his home in north­ern Penn­syl­va­nia or the back­coun­try of the land along the Mis­sis­sippi. He was fas­ci­nated by the river grow­ing up along its banks and re­cently spent three years painting scenes along its 2,300-mile length for a book and ex­hi­bi­tion called Amer­ica’s River Re-Ex­plored now trav­el­ing through­out the Mid­west. Pa­que­tte con­nects to man’s ar­che­typal re­sponse to na­ture. The univer­sal re­sponse to his work has re­sulted in the Depart­ment of State to place his paint­ings in em­bassies from Chad and Cam­bo­dia and from San Sal­vador to Moscow. Re­cently a painting went on per­ma­nent dis­play at NATO head­quar­ters in Brus­sels.

Power in Late Day is a study in di­ag­o­nals with power lines com­ple­ment­ing shad­ows. The power is just pass­ing through while na­ture con­tin­ues on.

War­ren Pros­peri be­gan draw­ing when he was 5 years old and, af­ter mov­ing to Bos­ton, spent two years copy­ing mas­ter­works in the col­lec­tion of the Mu­seum of Fine Arts. He col­lab­o­rates with his pho­tog-

ra­pher wife, Lu­cia, on his scrupu­lously ac­cu­rate his­tory paint­ings, con­tem­po­rary por­traits and land­scape paint­ings. Fog, 2014, bears both their mono­grams.

Mar­cia L. Vose, of Vose Gal­leries in Bos­ton, writes, “War­ren aligns him­self with the tenets of op­ti­cal nat­u­ral­ism, a method started by Car­avag­gio, per­fected by 17th-cen­tury mas­ters Hals and Ve­lasquez, and con­tin­ued by late-19th-cen­tury con­tem­po­raries Zorn, Sorolla and Sar­gent. ‘This tra­di­tion ex­am­ines the na­ture of vis­ual ex­pe­ri­ence and the struc­ture of an ac­tual mo­ment,’ cites the artist.”

He turns his mas­tery of cap­tur­ing the sub­tleties of color to a scene of a cut down corn­field and a dirt farm road in the fog, neatly di­vided into four nearly equal quad­rants, re­mind­ing us again of the ex­tra­or­di­nary beauty of ev­ery­day ex­pe­ri­ence.

Rain is not an ev­ery­day ex­pe­ri­ence where I live in the high desert of New Mex­ico. Karen Woods records the land­scape through her car win­dow—in the rain. She says, “I paint—in the re­al­ist tra­di­tion— from pho­tographs taken at in­ter­sec­tions and on the road, when I’ve been struck by the beauty in the or­di­nar­i­ness of my com­mute. These im­ages are the ‘lyri­cal sug­ges­tions’ that com­pel me to paint, to com­mu­ni­cate these tran­scen­dent ex­pe­ri­ences so clearly that oth­ers might in turn rec­og­nize this beauty in the course of their day.” Her paint­ings cause me to re­mem­ber rainy days more fondly than I did when I ex­pe­ri­enced them.

The land­scape on the road is of­ten some­thing merely driven through. Woods en­cour­ages us to see it in the rain in a new light. Stephen Fox paints the view on the road at night un­der ar­ti­fi­cial light and bathed in mys­tery.

He says, “When I was 7 years old, I’d play an out­door game with friends, where at dusk we had to dodge the head­light beams of cars com­ing into the neigh­bor­hood, div­ing be­hind trees or into ditches when the light was about to find us.” To­day his fas­ci­na­tion with night light and at­mos­phere re­veals deeper mean­ings. “High­ways dis­ap­pear­ing into the dis­tance, bill­boards with their mes­sages ob­scured,

“The more ed­u­cated a col­lec­tor can be about the aca­demics of art and the skill that an artist uses, the more they will ap­pre­ci­ate the value of the fine art that they are pur­chas­ing.”

— Roger Dale Brown, artist

lonely phone booths and de­serted play­grounds, high vista land­scapes and even the side­walk life we might find our­selves a part of on some misty night...,” he says. “It seems that all of these el­e­ments can have both lit­eral and sym­bolic sig­nif­i­cance, worlds of form and spirit given voice at the same time.”

Within the pages of this spe­cial sec­tion are an ar­ray of land­scapes—rocky moun­tains to quiet beaches—that cap­ti­vate the viewer with a sense of place and beauty. There are in­sights from deal­ers about the genre, as well as com­men­tary on in­spi­ra­tions and tech­niques from the artists them­selves.

Pa­que­tte says, “Whether it’s my own painting as it takes shape on the easel or a cen­turies-old master­work, I am keen to see works that pulse with in­ten­tion. You can trace artists’ fas­ci­na­tions and pas­sions through their choice of sub­ject, of course, but also in how they choose to paint it.”

Re­cur­ring in Pa­que­tte’s paint­ings is the nat­u­ral world mainly be­cause it as­ton­ishes him daily. “I take na­ture not just as sub­ject but as teacher, too. The slow, mas­sive grind of plate tec­ton­ics and the whims of weather alike are men­tors guid­ing me as I build up and scrape off lay­ers of paint to get at some­thing vi­tal, some­thing more es­sen­tial than the mere look of the sub­ject,” he ex­plains. “It doesn’t mat­ter at all how much time this process takes. It is the spark of life and my in­ter­est in the sub­ject that must move and in­spire the viewer in a sim­i­lar way, even if it takes years to hone the painting to that point.”

Roger Dale Brown al­ways finds in­spi­ra­tion in na­ture and the out­doors, in­clud­ing marine and coastal scenes. Though he may ex­plore other sub­jects—cityscapes, fig­ures and still lifes—he al­ways re­turns to his pas­sion of na­ture. “I stay true to my heart and paint what touches me, not what the mar­ket asks for,” he says. “I hope that is ev­i­dent when you see one of my paint­ings, that you see what truly touched me at that mo­ment. My art­work has my heart and soul in it.”

Lo­cated in Or­leans, Mas­sachusetts, The Gallery at Tree’s Place rep­re­sents a num­ber of land­scape artists in­clud­ing Mor­gan Sa­muel Price, Bill Farnsworth and Leo Mancini-Hresko. Gallery owner Mike Dono­van says, “The land­scape genre is a fa­vorite of many of our col­lec­tors. Of­ten the con­nec­tion to a spe­cific painting is a fa­mil­iar­ity with a place they may have vis­ited or an emo­tional con­nec­tion to a place they’d like to be. Farnsworth, Price and Mancini-Hresko are all ac­com­plished plein air artists, and they cap­ture the mo­ment and at­mos­phere of the places they

paint beau­ti­fully.”

Wells Gallery, lo­cated on Ki­awah Island in South Carolina, fea­tures land­scape artists who pri­mar­ily paint the Low­coun­try re­gion. Artists such as Junko Ono Roth­well, Rick Mc­Clure and Karen Lar­son Turner have their works in the gallery.

Of her pieces, Roth­well says, “I do not block each color, but try to flow col­ors over the en­tire can­vas to cre­ate the feel­ing of move­ment. Color brings each of my land­scape paint­ings to life.”

For Mc­Clure, the plein air ex­pe­ri­ence has be­come a time to gather in­for­ma­tion for larger works. “I find that the more I am in my stu­dio, my work keeps get­ting tighter and tighter, so I have to get out­doors to keep that fresh­ness,” he says. “That’s re­ally what I strive for. I want a stu­dio piece to look like it was painted on lo­ca­tion. And that’s re­ally hard to do.”

Richard A John­son is an alumni of Rin­gling School of Art & De­sign and has been painting for more than 40 years. Peo­ple have al­ways liked his land­scapes, as they re­mind them of happy times and places in their past. One col­lec­tor bought 27 paint­ings of John­son’s over 16 years at a gallery on St. Si­mons Island, Ge­or­gia. John­son works in an im­pres­sion­is­tic re­al­ism style, with lots of dots and dashes of con­stantly chang­ing color. His mother is

“When pur­chas­ing a land­scape painting, the col­lec­tor has the op­por­tu­nity to choose how they wish to view an ide­al­ized ver­sion of the set­ting. It does not mat­ter whether that painting is a beach, a moun­tain scene, a river val­ley or a noc­turne. My advice would be to choose one that makes you feel.”

— Christine Graefe Drewyer, artist

a 98-year-old bird-watcher and John­son got his in­ter­est in both art and birds from her.

“As a child my mother took us kids to ev­ery art mu­seum we got near and was con­stantly point­ing out dif­fer­ent birds to us,” he says. The birds in his paint­ings started as small dec­o­ra­tions for his land­scapes. In the past six years they have be­come the dom­i­nate fac­tor in the land­scapes. John­son has also done sev­eral paint­ings with squir­rels and tur­tles. His work has been shown with gal­leries from Vir­ginia to Florida and he has been in shows from New Jersey to Florida.

Ac­cord­ing to Lot­ton Gallery direc­tor Christina Fran­zoso, “Land­scape paint­ings in­vite the nat­u­ral world and the out­doors into our homes, al­low­ing a con­tin­u­a­tion of na­ture where we sleep, dream, eat and live, cre­at­ing a sanc­tu­ary in­doors.” At the Chicago gallery, artists such as Ge­lena Pavlenko and Vakhtang paint land­scapes that in­vite the viewer in and wel­come their own in­ter­pre­ta­tions.

Pavlenko im­mi­grated to the U.S. just over a year ago from her na­tive Ukraine, seek­ing a new life for her and her fam­ily. Liv­ing in a small New York City apart­ment with her hus­band, son and mother, com­ing to Amer­ica was a dream for the artist. Pavlenko finds her seren­ity in painting tran­quil land­scapes, shar­ing her love of na­ture and the out­doors. Her land­scape paint­ings are meant to be soft and peace­ful, she wel­comes view­ers to her happy place.

Ge­or­gian artist Vakhtang paints three­d­i­men­sional land­scapes by cap­tur­ing a mist or a hazy fog, giv­ing the feel­ing of be­ing in a dream. He paints on linen, us­ing the tex­ture of the linen to give his land­scapes a tac­tile qual­ity. His land­scapes draw the viewer in, and al­though the pieces ap­pear to be very sim­ple, they are com­plex at the same time, to­gether in com­plete har­mony.

At Ch­eryl Newby Gallery, there are paint­ings by artists such as Lisa Gleim, Paula Holtz­claw and Mike Wil­liams that are at­tuned to the at­mo­spheric con­di­tions of the lands. When it comes down to mak­ing a pur­chase, gallery owner Ch­eryl Newby says, “I feel that art buy­ers should al­ways only buy what they love no mat­ter what type of art they are buy­ing. Also, in my opin­ion, if you are not a sea­soned col­lec­tor, it’s best to buy works by artists who are es­tab­lished and have a rep­u­ta­tion for ex­cel­lence in a par­tic­u­lar style or genre.”

Gleim, who lives in At­lanta, has al­ways been drawn to color, light and at­mos­phere and strives to cap­ture all three el­e­ments in her paint­ings. “My fa­vorite time of day is the ‘golden hour’ when the light is at its rich­est and most dra­matic,” she says. “The ef­fect that late day light or moody at­mos­phere has on the land­scape is what I strive

to cap­ture. I want to record a mo­ment in time that moves the viewer and re­minds them of a spe­cial point in time.”

Romona Youngquist, who re­sides in New­berg, Ore­gon, says, “Some­times I worry be­cause I tend to paint scenes that are near me and I don’t branch off into other gen­res. And then I think, ‘why would I care what any­one thinks be­cause what I do comes straight from the heart.’ Other­wise I won’t be moved to feel that I have to paint that. But I’m al­ways striv­ing to make those paint­ings even more dy­namic.”

Youngquist has been ex­per­i­ment­ing with her un­der paint­ings to bring an el­e­vated sense of mys­tery, ten­sion and peace all at once. This fall, Youngquist will have the chance to paint the Tus­cany re­gion of Italy. It is a place she has never been, but she has al­ways wanted to cap­ture its beauty. She’s also par­tic­i­pat­ing in Sonoma Plein Air and will paint the Napa Val­ley Wine Coun­try from Septem­ber 10 to 14.

Bow­er­sock Gallery in Province­town, Mas­sachusetts, fea­tures the work of Emma Ashby and Dar­lou Gams. Ashby uses a broad range of color, but chooses to speak, deftly, through the en­caus­tic medium lay­er­ing her work into the

three-di­men­sional land­scapes. Gams’ har­mo­nious, tonal work is about po­etic place and peo­ple. The past few years the ac­com­plished artist con­cen­trated on the study of faces, but re­turns to her pop­u­lar land­scapes for this sea­son.

Ac­cord­ing to gallery owner Steve Bow­er­sock, “These are dif­fer­ently ef­fect­ing works and medi­ums; each de­serve spe­cial at­ten­tion to the land and sea. To­gether they epit­o­mize the value and pur­pose of art.”

Stu­dio 7 Fine Art Gallery is lo­cated in the beau­ti­ful rolling hills of New Jersey horse coun­try, an hour from New York City and Philadel­phia. The gallery rep­re­sents over 30 artists in­clud­ing na­tion­ally ac­claimed wa­ter­color artist James Fiorentino. He was the youngest artist to be voted into the New York So­ci­ety of Il­lus­tra­tors and So­ci­ety of An­i­mal Artists and to show his work in Coop­er­stown

Base­ball Hall of Fame, at age 15.

His solo show, Peo­ple, Places & Things, will hang at Stu­dio 7 from Septem­ber 1 to Oc­to­ber 27. In this show Fiorentino demon­strates his mas­tery of land­scapes and cap­tures the faces and places in the world around him, in all sea­sons. Ac­cord­ing to the gallery, “His unique re­al­ist dry brush wa­ter­col­ors are rem­i­nis­cent of Rock­well and Wyeth and even sea­soned artists and ex­pe­ri­enced col­lec­tors have to scru­ti­nize his work be­fore be­liev­ing they are orig­i­nal wa­ter­color paint­ings.”

Western North Carolina-based artist Phillip Philbeck dis­plays ex­per­tise in re­al­ism, re­gion­al­ism and ro­man­ti­cism, or some­times com­bines all three styles. For the past sev­eral years his fo­cus has been the grand, dra­matic land­scape. “I’ve al­ways been en­am­ored with this style of land­scape painting. I re­mem­ber as a kid leaf­ing through art books with the im­ages of Thomas Cole, Albert Bier­stadt and other Hud­son River artists,” he says. “That was very in­spi­ra­tional and pro­vided the seeds for what I do now. There’s rarely any­thing more en­joy­able than hik­ing and have it open up and bam—there it is, that awe­some view I was look­ing for!”

Topeka, Kansas-based artist Stan Met­zger paints panoramic land­scapes of places such as Mon­u­ment Val­ley and Coron­ado Butte. “With be­ing in­spired by the chal­lenges of sub­ject mat­ter, of high de­grees of dif­fi­culty, I have mas­tered the tech­ni­cal, artistic skills nec­es­sary to put those im­ages on can­vas,” he says.

Canyon Road Con­tem­po­rary Art in Santa Fe rep­re­sents the work of Mark Bowles who is fas­ci­nated by tex­ture, form and color. He uses this fas­ci­na­tion to ex­press how he feels at the mo­ment he is en­vi­sion­ing. Al­though aware of and com­pe­tent in for­mal meth­ods of cre­at­ing art, he does not limit his ex­pres­sions by rules, or even by his own in­ter­pre­ta­tions of what he sees. The free­dom re­sult­ing from such an open and ex­pres­sive ap­proach al­lows his work to move ef­fort­lessly from representational to min­i­mal­ist to ab­strac­tion, of­ten within one can­vas.

“One should choose a Mark Bowles piece based on their re­ac­tion to the in­ter­play of light and form,” the gallery says, “as through­out the day a Bowles can­vas is apt to change not only what it is ex­press­ing but what the viewer is feel­ing.”

For her lat­est body of work, Christine Graefe Drewyer aimed to in­fuse the view with a feel­ing of hope and peace­ful­ness. “It would seem the world is be­com­ing more chaotic ev­ery day and the pres­sures and anx­i­eties which tend to ac­com­pany that can get over­whelm­ing,” she says. “The land­scape has al­ways been my pri­mary fo­cus be­cause it is the univer­sal com­mon de­nom­i­na­tor which we all share.

“My re­cent paint­ings con­tain ce­les­tial com­po­nents,” she con­tin­ues. “In these it hap­pens to be the sun. The stars, plan­ets, the very Earth her­self are an­cient com­pared to our fleet­ing time here. By plac­ing these glow­ing orbs in the paint­ings, it is my hope to in­still a feel­ing that time en­dures, the uni­verse en­dures and

there is light and pro­tec­tion and se­cu­rity which ac­com­pa­nies that.”

With her cam­era as a con­stant travel com­pan­ion, Nancy Balmert has doc­u­mented a re­cent trip to the U.K. and the sights ap­pear in many of her works. “This trip started in the Cotswolds, which in mid-May, were in full bloom. While stay­ing at the Manor House, I found this view of the church from the bridge on the one street in town,” she says. “A few yards away I saw a path­way [and] door and I was in­spired to paint the wis­te­ria. Ev­ery­where I looked, I saw en­chant­ing old struc­tures.”

Oc­to­ber 3 to 31, Balmert will ex­hibit her paint­ings at Am­s­ter­dam Whit­ney In­ter­na­tional Fine Art Gallery in Chelsea, New York. There will be a Gala Cham­pagne Re­cep­tion and Hal­loween Mas­quer­ade soiree on Oc­to­ber 6 from 3 to 5 p.m.

Each of the 10 paint­ings in Sally Ruddy’s new­est series fea­ture vary­ing shades of pink, such as The Pink House, which ap­peared overnight as an or­chard of al­mond trees was bull­dozed down nearby her home. “In a few years, the pink

house will slip from view be­hind new trees planted in the or­chard once again,” says Ruddy. “I felt I must paint that house be­fore it dis­ap­pears.”

An­other of her new paint­ings, Owl Box 2, de­picts an owl box on her ranch. “It’s just a plain white box on a wooden post. How­ever, it is a mys­te­ri­ous box. The owls are hid­den in there and they house their ba­bies in­side. At night, they come out to hunt for prey. I never see them, but I hear them. The mys­tery is in the box,” she says. “All of these works record scenes of my per­sonal en­vi­ron­ment and cel­e­brate the essence of life.”

Artist and gallery owner Chris­tiane David says, “My art­work tran­scends the sub­ject and con­cen­trates on emo­tions in bold and play­ful col­ors.” David, who owns her Chris­tiane David Gallery, adds, “Col­lect­ing is es­sen­tially based on in­tu­ition and the re­sponse of an emo­tion. Great col­lec­tions are made of what some may find ma­jor and minor art­works. This di­ver­sity re­flects the per­son­al­ity of the col­lec­tor.”

For the past seven years, Macey Lip­man has been spend­ing Septem­ber and Oc­to­ber in Florence, Italy, to study at Michelan­gelo Isti­tuto Ac­cademia d’Arte. “The at­mos­phere of Florence is full of art his­tory hav­ing been the cen­ter of the art world since the Re­nais­sance. It is truly a ‘Company Town’ for the arts,” says the artist.

On week­ends the school takes day trips to var­i­ous cities in the Tus­cany re­gion. “That’s where I got the in­spi­ra­tion for my

land­scape paint­ings,” says Lip­man. “My goal was to paint a small piece of his­tory that could rep­re­sent a taste of Italy. Of course, the age of the struc­tures in Florence tes­tify to the an­cient his­tory of Italy it­self. The Monastery was built in 335, the Ro­man Ru­ins were built in 200 B.C. and the Medici Palace (not shown) was built in 1299. They are all fas­ci­nat­ing ed­i­fices full of sto­ries and some are still in use even to­day.”

Camilla Hale’s new­est soft pas­tel painting, In the Shadow of Ped­er­nal, was in­spired by the light at Ghost Ranch, which she finds to move across the land­scape like a liv­ing crea­ture. “Ev­ery inch of move­ment cre­ates a new in­spi­ra­tion and this pas­tel painting is but one of those mo­ments,” she says, adding, “To any­one re­luc­tant to col­lect soft pas­tel paint­ings as op­posed to oils, I say view the vi­brancy and tex­ture of pas­tel first­hand and you will surely be­come a pas­sion­ate col­lec­tor of both.”

Lo­cated in Round Top, Texas, Cop­per Shade Tree Gallery rep­re­sents a num­ber

of artists who cre­ate land­scape-themed art­work. Ger­ald Tobola cre­ates cop­per re­pousses, such as his piece For­est Floor, which gives a di­men­sional as­pect to the land­scape that is found when look­ing at the ground be­neath one’s feet. “I am deeply drawn in to na­ture, par­tic­u­larly leaves and trees,” the artist ex­plains. “Just like life, the leaf life cy­cle is in con­stant mo­tion and change. Their color palette is end­less.” An­other artist rep­re­sented by the gallery is Nancy Bandy, who lives in the coastal prairie re­gion of South Texas and is fas­ci­nated by its ever-chang­ing skies and low hori­zons. She says, “They pro­vide a great va­ri­ety of pat­terns, col­ors, shapes and moods. I try to cap­ture a sense of light and move­ment in the skies and hope­fully cre­ate a work that is evoca­tive for the viewer in some way.” Ju­dith Bab­cock, who runs her stu­dio/ gallery in Denver, says she has been thriv­ing with com­mis­sions. Bab­cock em­ploys an im­pres­sion­is­tic style when she paints, and draws in­spi­ra­tion from the sights around where she lives in the pic­turesque state. Bab­cock elab­o­rates, “The Rus­sian Im­pres­sion­is­tic style en­hances the beauty of the Rocky Moun­tains and the el­e­gance of the Aspen views.”

BY JOHN O'HERN

1. Vose Gal­leries, Fog, oil on can­vas, 33 x 50", by War­ren Pros­peri.

2. Thomas Pa­que­tte, Power in Late Day, oil on linen, 20 x 32" 3. Qui­d­ley & Co., On the Boule­vard, oil, 14 x 18", by Karen Woods. 4. Ar­ca­dia Con­tem­po­rary, Up­hill Climb, oil on can­vas, 20 x 24", by Stephen Fox. 5. Nüart Gallery, Wa­ter­works 2, dry pig­ments, gyp­sum, ce­ment, fiber­glass and glaz­ing, 11 x 15¼", by Diana Moore. 6. Gar­vey|Si­mon,Ice Dam, ca­sein tem­pera on panel, 24 x 18 x 2", by Alan Bray 7. Thomas Pa­que­tte, Cleft, New Hamp­shire, oil on linen, 60 x 48" 8. Thomas Pa­que­tte, In­ter­lude of Light, oil on linen, 30 x 46" 9. Roger Dale Brown, Mon­terey Evening, oil on linen, 24 x 36" 10. Thomas Pa­que­tte, Win­ter River from Blue­berry Drive Bridge, oil on linen, 36 x 28" 11. Roger Dale Brown, Moun­tain Flow, oil on linen, 36 x 24"5

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12. Roger Dale Brown, Sun­set Over the Val­ley, oil on linen, 24 x 40" 13. T.H. Bren­nen Fine Art, Win­ter, oil on linen, 10 x 8", by Ryan Brown. 14. The Gallery at Tree’s Place, Win­ter Rhythms, oil on linen, 18 x 24", by Leo Mancini-Hresko. 15. The Gallery at Tree’s Place, Lot River in Puy-l’Eveque, oil on can­vas, 8 x 10", by Mor­gan Sa­muel Price. 16. The Gallery at Tree’s Place, The Es­cape, oil on board, 16 x 20", by Bill Farnsworth.16

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17. Wells Gallery, Ki­awah Marsh from Marsh Island Drive, oil on can­vas, 30 x 40", by Junko Ono Roth­well. 18. Wells Gallery, Starlight Vigil, oil on linen, 36 x 24", by Karen Lar­son Turner. 19. Wells Gallery, One, Two, Three, oil on linen, 20 x 24", by Rick Mc­Clure. 20. Richard A John­son, On the Way to Ki­awah, acrylic on can­vas, 24 x 30"21. Lot­ton Gallery, Rain, oil on linen, 12 x 12", by Vakhtang.20

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22. Lot­ton Gallery, Early Twi­light, oil on can­vas, 20 x 28", by Ge­lena Pavlenko. 23. Lot­ton Gallery, Early Morn­ing Light, oil on can­vas, 16 x 24", by Ge­lena Pavlenko. 24. Ch­eryl Newby Gallery, Carolina by Moon­light, oil on linen, 37 x 47" (framed), by Paula Holtz­claw. 25. Ch­eryl Newby Gallery, Point 48, Vari­a­tion II, acrylic and ink on can­vas,60 x 72", by Mike Wil­liams. 26. Romona Youngquist, Farm En­trance, oil on panel, 30 x 30" 27. Bow­er­sock Gallery, Be­yond the Dunes, en­caus­tic on panel, 24 x 48", by EmmaAshby. 28. Romona Youngquist, Barn on the Back­road, oil on can­vas, 48 x 48" 29. Romona Youngquist, Tran­quil Snow­fall, oil on can­vas, 54 x 54" 30. Stu­dio 7 Fine Art Gallery, First Snow, wa­ter­color, 22 x 30", by James Fiorentino. 31. Bow­er­sock Gallery, Ocean Cloud­scape III, oil on linen panel, 24 x 24", by Dar­lou Gams.25

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32. Richard A John­son, The Lost, acrylic on can­vas, 16 x 20" 33. Neal Philpott, Pri­mor­dial Fog, oil on can­vas, 26 x 54" 34. Phillip Philbeck, Pass­ing Storm in Yosemite Val­ley, oil on can­vas, 48 x 86" 35. Stu­dio 7 Fine Art Gallery, All is Calm, wa­ter­color, 24 x 24", by James Fiorentino. 36. Richard A John­son, Carolina Para­keet, acrylic on can­vas, 16 x 20" 37. Phillip Philbeck, Into the Val­ley, oil on can­vas, 36 x 65"37

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38. T.H. Bren­nen Fine Art, Still, oil on can­vas, 60 x 48", by Jean Luc Messin. 39. Nathaniel Sk­ousen, Wind Swept Lake, oil on can­vas, 12 x 19" 40. T.H. Bren­nen Fine Art, Mother & Daugh­ter, oil on linen, 23 x 31", by Pierre Van Dijk. 41. Wash­ing­ton So­ci­ety of Land­scape Pain­ters, Crest­ing the Dune, oil, 9 x 15", by Lisa Mitchell. 42. Stan Met­zger, SnowSqualls Over Mon­u­ment Val­ley, acrylic on linen, 27 x 80" 43. Wash­ing­ton So­ci­ety of Land­scape Pain­ters, First Snow, oil, 8 x 10", by Hai-Ou Hou. 44. Stan Met­zger, Snow Squalls Over Coron­ado Butte, acrylic on linen, 24 x 42" 45. Stan Met­zger, Look­ing Back Up the North Fork, acrylic on linen, 21½ x 36" 46. Lisa Gleim, Storm Clouds in Blue, pas­tel, 20 x 16"41

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47. Lisa Gleim, Alpen­glow, pas­tel, 16 x 20" 48. Nancy V. McTigue, Kauai Falls, oil on stretched linen, 16 x 12" 49. Canyon Road Con­tem­po­rary Art, Awak­en­ing, acrylic on can­vas, 36 x 48", by Mark Bowles. 50. Nancy Balmert, The Bridge at Cas­tle Combe, oil on can­vas, 20 x 16" 51. Canyon Road Con­tem­po­rary Art, Chang­ing My Per­spec­tive,acrylic on can­vas, 48 x 60", by Mark Bowles. 52. Christine Graefe Drewyer, Ce­les­tial Promise, oil on linen, 30 x 40" 53. Christine Graefe Drewyer, Ocean Pearl, oil on linen, 20 x 30" 54. Christine Graefe Drewyer, Twi­light's Last Gleam­ing, oil on linen, 24 x 36"53

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55. Nancy Balmert, The Path at Cas­tle Combe, oil on can­vas, 20 x 16" 56. Canyon Road Con­tem­po­rary Art, Sum­mer Rain, acrylic on can­vas, 40 x 40", by Mark Bowles. 57. Sally Ruddy, Owl Box No. 2, oil on can­vas, 16 x 20" 58. Chris­tiane David, Spring in Pe­maquid, Maine, oil, 16 x 20" 59. Macey Lip­man, Re­lais la Su­vera, Tus­cany, Italy, oil on can­vas, 36 x 48" 60. Macey Lip­man, Monastery, Far­ma­cia Tor­naghi, Italy, oil on can­vas, 36 x 48" 61. Sally Ruddy, Pink House, oil on can­vas, 20 x 24" 62. Chris­tiane David, Nes­tled Among the Trees, oil, 16 x 20" 63. Chris­tiane David, Beau­ti­ful Bruge, oil, 36 x 24"56

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64. Cop­per Shade Tree Gallery, Rare Sky, pas­tel on pa­per, 20½ x 28", by Nancy Bandy. 65. Ju­dith Bab­cock, Af­ter­noon Nuance, oil, 24 x 36" 66. Camilla Hale, In the Shadow ofPed­er­nal, soft pas­tel, 5 x 7" 67. Ju­dith Bab­cock, Golden Day, oil, 24 x 36" 68. Macey Lip­man, Nemi Vil­lage and Crater Lake, Nemi, Italy, oil on can­vas, 24 x 30" 69. Cop­per Shade Tree Gallery, For­est Floor, cop­per re­pousse, 24 x 36", by Ger­ald Tobola.68

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