Real and Unreal

Plum Island, Newbury, MA.  11x14 inches, oil on gesso panel.  What I like about this painting is that it is both real and unreal at the same time.  The scene is from the aptly named Sandy Point State Reservation at the southern tip of Plum Island.

Ogunquit Edges

 Evening Sea, Ogunquit. 12x16 inches, oil on canvas panel.  Two edges. Some are abrupt.

Ogunquit Sea and Rocks

Sea and Rocks, Ogunquit, ME. 12x16 inches, oil on canvas panel.

Sea and Rocks

 Sea and Rocks, York, ME.  12x16 inches, oil on linen panel.  

Made In Trenton 17

 

If this painting, which hangs in my studio, wasn't signed on the back, I wouldn't know when I did it.  It's dated 1982, titled "Made in Trenton 17", from a large series of paintings, most of which no longer exist.  25x29 inches, oil on canvas.

The Faults of Nature

When I first looked at this site, at the edge of the Cold River, I thought that nature is so concentrated, difficult, & messy, that it's hopeless to think you can paint it. I still think so.  I just read that painters were once encouraged to improve upon the faults of nature by emulating Raphael.  The faults of nature are only those that reveal the faults of the artist. 9x12 inches, oil on linen panel.

Winter Landscape

Adam Weinberg, in an essay in the catalog Unknown Terrain: The Landscapes of Andrew Wyeth, wrote"...realism is no more real than abstraction. Keeping in mind that both realism and abstraction are culturally determined, we can avoid irreconcilable either/or positions."