Landscape

William Alden Brown (1877-) American

Medium: Oil on canvas
Image Size: 10” x 16”
Frame Size: 15” x 19”
Signature: Signed lower left
Price: $2800

Biography/Statement

William Alden Brown (b. 1877) was a Rhode Island/Providence School artist known for landscapes, influenced by the Arts & Crafts movement, who spent time in Woodstock, NY, painting scenes like Wintry Solitude, Woodstock (1913) and Afternoon View of Mount Overlook, connecting to the area’s art scene, particularly Byrdcliffe, though he’s less known today.

Artist Profile Page: Brown, William Alden / Categories: Landscape

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Hudson River School, Landscape

John Williamson (1826-1885) American

Medium: Oil on canvas
Image Size: 18” x 26”
Frame Size: 25” x 33.5”
Signature: Monogram lower right
Price: $18000

Biography/Statement

Born at Toll Cross, near Glasgow, Scotland, John Williamson emigrated to America as a child in 1831. He spent most of his life in Brooklyn. In the late 19th century, he became known for his landscapes of the Hudson River Valley and Connecticut. He traveled the Hudson River to Lake George, painting in the Adirondack and Catskill Mountains, and into New England, in the Berkshire Mountains, MA, the Green Mountains, VT, the White Mountains, NH, and in Connecticut.

Williamson began exhibiting at the National Academy in 1850 and in 1861, was elected an Associate Member of the Academy. He also exhibited in Brooklyn, Washington, and Boston.
In the early 1860s he completed a few still lifes featuring lilacs, morning glories, cherries, and raspberries. He died in Glenwood-on-the-Hudson in 1885.

Artist Profile Page: Williamson, John / Categories: Hudson River School, Landscape

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Landscape, Luminist

William R. Davis (1952-) Contemporary, American

Medium: Oil on board
Image Size: 6” x 8”
Frame Size: 12” x 13.5”
Signature: Signed lower left
Price: $1800

Biography/Statement

Bill Davis is a noted marine painter. He grew up in Hyannis Port, Massachusetts.  He is a self-taught artist whose oil paintings typically capture the serene light of sunrise or sunset on the water.   He employs many of the techniques traditionally used by American luminist painters to realize his personal vision, showing a marked preference for 19th century subjects.

In 1987, Davis had the first one artist show ever mounted at the Mystic Maritime Gallery in Mystic, Connecticut.  All twenty of the works featured in that show were sold at the opening reception. In 1990, he received the Mystic Maritime Gallery Award of Excellence, and his painting entitled Calm Day Off Latimer’s Reef appeared on the cover of Mystic’s The Art of the Sea Calendar in 1993.  Three of his paintings were also used in the book ‘Shipwrecks Around Boston’ by Cape Cod author, William P. Quinn.   Rockport Publishers has included Boston Harbor at Sunset in a new book entitled, ‘A Gallery of Marine Art.’

Much of Davis’ early works pays homage to 19th century artists such as James Bard, Martin Johnson Heade, Antonio Jacobsen and Fitz Hugh Lane.  He limits himself to about 30 colors in the palette of that period.  He describes his style as a “conglomerate of a number of ideas I saw in other artists with my own refinements.” Over the years, he has incorporated his fascinations for the different techniques of these artists.

In a tribute to Martin Johnson Heade, which appeared in the July 1991 issue of American Artist magazine, Davis refers to sunset as “the hour when night usurps day.”  He observes that this is the “best time of day for painters to capture the ‘inner state’ of a landscape,” and represents “an unequaled opportunity to sensitize the eye to the delicate mysteries of light and shadow.”

Although best known for his marine subjects, Davis strives to make his work accessible to those with a variety of tastes while expanding his own horizons as an artist.  Following the painting of Davis’ Lilacs and Basket, featured on the poster for The Cahoon Museum of American Art 1992 exhibition entitled, “The Flowers of New England.”

Davis has shifted in the last few years to painting more landscapes on location. In the process, he has converted to plein air painting, partly influenced by his friendship with artists Joseph McGurl and Donald Demers.

Artist Profile Page: Davis, William R. / Categories: Landscape, Luminist

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Hudson River School, Landscape

Patrick McPhee (N/A) Contemporary, American

After Sanford Robinson Gifford's 'A Coming Storm'

Medium: Oil on panel
Image Size: 10.5” x 15.5”
Frame Size: 18” x 23”
Signature: Signed lower right
Price: $2800

Biography/Statement

Artist statement:

“My mother first introduced me to the wonderful, messy world of smearing oil pastels at the age of six. Something about trying to capture a memory on paper while avoiding school work just stuck with me and with encouragement from my family, I began exploring other mediums. Throughout my school years, I tested a wide variety of subjects, but my love forthe outdoors and fishing ultimately led me to depicting scenes of nature in my work. My education continued at the Art Institute of Pittsburgh, where I was fortunate to have many talented mentors helping me to develop as an artist. I have since applied these lessons in my pursuit of nature’s truth.

For years I have admired the Hudson River School of landscape painters. Their reverence for nature and warning of man’s impact on the environment have never been more relevant than now.

In the setting of our current environmental peril, it is my hope that my art can call some attention to the purity of an untouched land, and perhaps encourage others to help protect it from future harm.”

Artist Profile Page: McPhee, Patrick / Categories: Hudson River School, Landscape

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Landscape, Moonlight

Dame Laura Knight (1877-1970) English

Medium: Oil on canvas
Image Size: 36” x 26”
Frame Size: 43.5” x 33.5”
Signature: Signed lower right
Price: $9500

Biography/Statement

Dame Laura Knight (1877 – 1970) was an English artist who worked in oils, watercolours, etching, engraving and drypoint. Knight was a painter in the figurative, realist tradition, who embraced English Impressionism. In her long career, Knight was among the most successful and popular painters in Britain. Her success in the male-dominated British art establishment paved the way for greater status and recognition for female artists.

In 1936 she became the third woman elected to full membership of the Royal Academy. Her large retrospective exhibition at the Royal Academy in 1965 was the first for a woman. Knight was known for painting amidst the world of the theatre and ballet in London, and for being a war artist during the Second World War. She was also greatly interested in, and inspired by marginalised communities and individuals, including Romani people and circus performers.

Artist Profile Page: Knight, Dame Laura / Categories: Landscape, Moonlight

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Landscape, Moonlight

Vincent Natale (N/A) Contemporary, American

Medium: Oil on canvas
Image Size: 8” x 8”
Frame Size: 12” x 12”
Signature: Signed lower left
Price: $1600

Biography/Statement

Vincent Natale has been creating illustrations and fine art professionally since 1985.

He attended the School of Visual Arts in New York City and graduated from the duCret School of Art in Plainfield, New Jersey.

His works range from magazine editorials to book covers to fine art and spans the genres of romance, horror, Fantasy/science fiction, portraiture, and military subjects. Vince has also created numerous illustrations for advertising clients in fashion, pharmaceuticals, and high tech.

He has received numerous awards for both his commercial and fine art work, and has been represented in several annual exhibitions of the Society of Illustrators in New York and Los Angeles. Vince’s works also appears regularly in the Spectrum annual book of The Best in Fantastic Art.

As well as having produced work for private commissions, his personal/gallery work has found homes in many private collections in the US and abroad.

Artist Profile Page: Natale, Vincent / Categories: Landscape, Moonlight

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Landscape

Thomas Hewes Hinckley (1813-1896) American

Medium: Oil on canvas
Image Size: 32” x 58”
Frame Size: 42” x 58”
Signature: Signed lower right
Price: $8500

Biography/Statement

Born in 1813 in Milton, Massachusetts, Thomas Hewes Hinckley pioneered in painting cattle. His paintings Cattle Seeking Shelter from an Approaching Storm and Disputed Game were very popular. In 1845, he executed drawings of Daniel Webster’s famous Ayrshire dairy herd.

He studied art with William Mason in Philadelphia, and by 1833 was a professional painter as a portraitist and sign painter. He became much influenced by William Landseer’s animal paintings and the Flemish masters while visiting Europe in 1851. The Royal Academy in London exhibited two of Hinckley’s hunting scenes in 1858.

Living as a guest on the island of Naushon permitted him time for detailed studies of deer, and he produced many beautiful paintings of them. Traveling in California in 1870, Hinckley painted scenes of deer and elk on the rocky coastal promontories.

Artist Profile Page: Hinckley, Thomas Hewes / Categories: Landscape

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Landscape

William R. Davis (1952-) Contemporary, American

Medium: Oil on board
Image Size: 8” x 6”
Frame Size: 12” x 10”
Signature: Signed lower right
Price: $1800

Biography/Statement

Bill Davis is a noted marine painter. He grew up in Hyannis Port, Massachusetts.  He is a self-taught artist whose oil paintings typically capture the serene light of sunrise or sunset on the water.   He employs many of the techniques traditionally used by American luminist painters to realize his personal vision, showing a marked preference for 19th century subjects.

In 1987, Davis had the first one artist show ever mounted at the Mystic Maritime Gallery in Mystic, Connecticut.  All twenty of the works featured in that show were sold at the opening reception. In 1990, he received the Mystic Maritime Gallery Award of Excellence, and his painting entitled Calm Day Off Latimer’s Reef appeared on the cover of Mystic’s The Art of the Sea Calendar in 1993.  Three of his paintings were also used in the book ‘Shipwrecks Around Boston’ by Cape Cod author, William P. Quinn.   Rockport Publishers has included Boston Harbor at Sunset in a new book entitled, ‘A Gallery of Marine Art.’

Much of Davis’ early works pays homage to 19th century artists such as James Bard, Martin Johnson Heade, Antonio Jacobsen and Fitz Hugh Lane.  He limits himself to about 30 colors in the palette of that period.  He describes his style as a “conglomerate of a number of ideas I saw in other artists with my own refinements.” Over the years, he has incorporated his fascinations for the different techniques of these artists.

In a tribute to Martin Johnson Heade, which appeared in the July 1991 issue of American Artist magazine, Davis refers to sunset as “the hour when night usurps day.”  He observes that this is the “best time of day for painters to capture the ‘inner state’ of a landscape,” and represents “an unequaled opportunity to sensitize the eye to the delicate mysteries of light and shadow.”

Although best known for his marine subjects, Davis strives to make his work accessible to those with a variety of tastes while expanding his own horizons as an artist.  Following the painting of Davis’ Lilacs and Basket, featured on the poster for The Cahoon Museum of American Art 1992 exhibition entitled, “The Flowers of New England.”

Davis has shifted in the last few years to painting more landscapes on location. In the process, he has converted to plein air painting, partly influenced by his friendship with artists Joseph McGurl and Donald Demers.

Artist Profile Page: Davis, William R. / Categories: Landscape

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Landscape, Tonalism

Dennis Sheehan (1950-) Contemporary, American

Medium: Oil on canvas
Image Size: 12” x 20”
Frame Size: 18” x 26”
Signature: Signed lower left
Price: $3200

Biography/Statement

Dennis Sheehan, born in Boston in 1950, is a member of the Guild of Boston Artists. His work is in major public and private collections., including the White House. Sheehan paints in the Barbizon mode with remarkable authority and faithful adherence to his 19th century precursors. In the tradition of the Tonalist painters, Sheehan creates landscapes of mood, affected by nature’s changing seasons.

“Today, in a cultural firmament that has been defined as Postmodern, a new generation of American painters is returning to the old landscape seeking a renewed vision.  The cultural strategies that they employ are as diverse as any from the past; in most cases, these painters consciously strive to enter into a dialogue with the history of the White Mountains art.  Their work, grounded in a sophisticated appreciation of what has come before, is in many cases deliberately discursive with a tradition that has been all but erased twice by historical and cultural forces.” 

The contemporary work of Dennis Sheehan, for example, affords a great nineteenth-century-predecessor George Inness.  Like Inness, whose influence is consciously acknowledged, Sheehan employs the dark palette and thickly pigmented surfaces of the French Barbizon School*. Maintaining a muted tonalist chromatic scheme, Sheehan, like Inness before him, has temerity to eschew picturesque scenery-his Conway Meadows avoids any reference to the traditional climax view of Mount Washington—in the interest of evoking atmospherics* and the appearance of the natural world as it is observed.

Optical truth combined with poetic resonance—the search for some ineffable quality of nature beyond words -constitutes the probity of his art. Yet, also like Inness, Sheehan’s paintings are produced in the studio. His work is the product of the conscious distillation of prior imagery ranging from the American Barbizon to the abstractions of Franz Kline. For all of the references to history—and there are multiple—there is no mistaking the artist’s debt to the more recent past. Without the legacy of action painting, Sheehan’s art would be less forceful and evocative than it is.”

Source: Guild of Boston Artists

 “My goal is to have the painting emanate light, rather than be just a surface that records the reflections of light. This is why the shadow areas are important, for it is from them that this emanation proceeds. The light areas are focal points of this effort, but the power comes from the shadows.” – Dennis Sheehan

Artist Profile Page: Sheehan, Dennis / Categories: Landscape, Tonalism

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Landscape

Harry Orlyk (1947-)

Medium: Oil on canvas
Image Size: 12” x 20”
Frame Size: 18” x 26”
Signature: Signed lower right
Price: $2500

Biography/Statement

Harry Orlyk’s plein air oil paintings tell the stories and histories of the land near his home in Salem, New York. Painting daily, he has been documenting American farmland in Washington County, NY for over 35 years. Orlyk is known for his ability to capture a rural country landscape with impressionistic brush strokes and a bright color palette.

Artist Profile Page: Orlyk, Harry / Categories: Landscape

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