Krueger be­gins

Arts and Crafts Homes - - THE GUILD -

on a mod­est scale: he’ll paint a small plein-air land­scape on site, out­doors. “I’m a scrub­ber when I paint,” he says, “so I pre­fer the rigid­ity of a hard panel sur­face.” He uses a ges­soed Ma­sonite panel, some­times Ma­sonite wrapped in Bel­gian linen. Once back in his stu­dio, he builds har­mo­nious lay­ers of color and pat­tern us­ing glazes of translu­cent pig­ments that give his brush­strokes a more dif­fuse and softer edge. The re­sult­ing unity of tone and a sat­u­rated glow make his work unique. Al­though he calls the small pieces “stud­ies,” he in­tends for them to be fin­ished paint­ings in them­selves. The in­ti­mate scale al­lows him to de­velop the com­po­si­tion and his beau­ti­ful tonal range. When he scales up to a larger can­vas—stu­dio work not prac­ti­cal in the field—the com­po­si­tion is most often based on one or sev­eral of the smaller paint­ings.

right Paint­ing en plein air, in process among birch trees in Beu­lah, Michi­gan. far right The artist paints on the shore of the French Broad River in Weaverville, North Carolina. top right The moody “El­egy” is an ex­am­ple of Krueger’s Ton­al­ist ap­proach to the land­scape.

above Krueger’s “Elk Moun­tain Road” hangs this year as part of his solo ex­hi­bi­tion at the Grove­wood Gallery in Asheville, N.C. left Shawn and his son, Sam, at the pi­ano; the large paint­ing is “A Me­an­der On The Saranac.”

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