Landscape

Thomas Hewes Hinckley (1813-1896) American

Medium: Oil on canvas
Image Size: 32” x 48”
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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Hudson River School, Landscape

Joseph Antonio Hekking (1830-1903) American

Medium: Oil on board
Image Size: 9” x 7”
Frame Size: 15” x 12.75”
Signature: Signed lower right
Price: $3200

Biography/Statement

J. A. Hekking was a versatile and talented landscape painter who lived in New York and Connecticut and was active from the early 1850’s to the later 1870’s.  Hekking was a frequent participant at major exhibitions. His paintings were inspired by the Adirondack and White Mountains, Connecticut, New York views, and the Jersey shore.  He worked with Frederick Rondeland.  His paintings were actively acquired by important collectors including J.S. Farrand, Sarah Holderby, N.L. Lindsey, T. Foster, and George Watter Vincent Smith.

Hekking exhibited at the National Academy of Design (eight paintings between 1859 and 1875); the 1865 Michigan State Fair; the Crystal Palace in New York, 1853; Cosmopolitan Art Association, 1858; Utica Art Association, 1868; Buffalo Fine Arts Academy, 1869; Boston;1869; the Buffalo YMCA, 1861 and the Chicago Industrial Exposition in 1876. Hekking is listed in the exhibition records of the National Academy of Design, the Pennsylvania Academy of the Fine Arts, and the Groce and Wallace New York Historical Society Dictionary of Artists in America.

He is in the following books: 

• Art and Artists in Connecticut, published in 1879, by H.W. French
• New Hampshire Scenery, published in 1985, by Catherine H. Campbell
• Artists of Early Michigan, published by the Wayne State University Press, Detroit, in 1975, compiled by Arthur Hopkin Gibson.

Artist Profile Page: Hekking, Joseph Antonio / Categories: Hudson River School, Landscape

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Landscape

Rudolph Voelcker (1873-1962) American

Medium: Oil on canvas
Image Size: 30” x 36”
Frame Size: 39” x 45”
Signature: Signed lower left
Price: $6500

Biography/Statement

Rudolph A. Voelcker (Born 1873) was active/lived in New Jersey, New York. Rudolph Voelcker is known for Townscape, genre and rural landscape painting.

Artist Profile Page: Voelcker, Rudolph / 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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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

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

William R. Davis (1952-) Contemporary, American

Medium: Oil on panel
Image Size: 8” x 10”
Frame Size: 12” x 14”
Signature: Signed lower left
Price: $2200

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

Corwin Knapp Linson (1864-1934) American

Morning Light, 7am August 1946

Medium: Oil on canvas
Image Size: 20” x 24”
Frame Size: 26” x 30”
Signature: Signed lower right
Price: $4800

Biography/Statement

Corwin Knapp Linson, was an artist and illustrator who worked with his friend and roommate, Stephen Crane, author of the Civil War novella, The Red Badge of Courage. Crane read about the War in Century Magazine in Linson’s New York studio, declaring, “These fellows spout eternally of what they did, but they never say how they feel. They are as emotionless as rocks.” Linson would write a book about Crane, My Stephen Crane. Several versions of the manuscript, and photographs of Crane taken by Linson, are in the Special Collections Research Center of the Syracuse University Library in New York.

Artist Profile Page: Linson, Corwin Knapp / Categories: Landscape

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Landscape, Tonalism

Dennis Sheehan (1950-) Contemporary, American

Medium: Oil on canvas
Image Size: 25” x 30”
Frame Size: 33” x 38”
Signature: Signed lower left
Price: $3800

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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