Compounding Design

The Gestalt principle of similarity reveals how we organize visual fields using similar characteristics to group, identify and place shapes. We gather and arrange these similars in fundamental shapes like the “T”, “V”, “S”, or curved “C” forms.  The “T” is a foundation architectural shape as well as being the basis for describing geometry with the crossed X and Y axis (see example 1).  If the “T” form is compounded, overlapped, and arranged with varying sizes we have an example of how to create space and rhythm with a group of variable “similars”. This process was distilled by Piet Mondrian and Bauhaus artists and architects of the early 20th century but, it has been used since the earliest Egyptian architecture.

Example 1.  “T” form along with compounded “T”s,

Another organizing shape is the hub-and-spoke pattern (see example 2). This principle relies on radians fanning out from a central point or hub.  It begins with the “V” form and then fan-radiates. If an artist compounds the two principles of radiating hubs with compounded “T” forms then, a dynamic asymmetrical composition with a strong feeling of space and motion can be created (see also example 2). You can find examples of this in the work of contemporary artists like Julie Mehretu.

Example 2.  Hub-and-spoke pattern and, compounded,

If we take these patterns and fit them to the principles of linear perspective (i.e. using vanishing points and a common eye-level) then, we can persuade the beholder (viewer) that we have a persuasive illusion of space. Linear perspective manuals from the 17th and 18th century did this.  Examples 3 and 4 present two pages from perspective manuals of the 1700s.

In Example 3 observe a central vanishing point which creates a hub-and-spoke pattern as the walls all converge to the vanishing point. Notice in example 4 how the rising and descending stairs offer two “V” patterns but, with different vanishing points than those on the central eye-level. The ascending stairs use a vanishing point above the eye-level and the descending stairs use one below the eye-level.

Example 3. From Kirby’s “Perspective of Architecture “ 1761, form and shadow study.

Example 4. From Thomas Malton’s “A Compleat Treatise on Architecture” 1779.

In my following examples I use the compounded “T” and “hub-and-spoke” patterns along with rising and descending vanishing points.  These images help flesh out the ideas presented above.

Example 5 is a variation on the schematic design  featured in example 2. I double layered images of the Brooklyn Bridge to help amplify the feeling of compounded designs.

Example 5. Brooklyn Bridge painting on laminated aluminum, 36×36,

Example 6 presents my experience of an approach to NYC’s 59th Street Bridge.  This image offers rising and descending vanishing points as well as rotation and curvature.  By blurring the image of cars I can imply speed to the movement of the painting. Notice how I adhered to the shadow demonstration in Kirby’s example 3.

Example 6. Approach to the 59th Street Bridge, 24×48,

Mirroring as seen in reflections  can use a common eye-level and vanishing point. Example 7 presents an example of this with a puddle in Midtown Manhattan.

Example 7. “Electric Reflections”, 24×24,

If you find yourself in the Portland, Oregon area for the first Friday of September (September 1st)  then please join me early that evening  for a reception and exhibition of my new works at the Attic Gallery in Camas, Washington (just across the river from Portland). The Attic Gallery is at 421 NE Cedar Street, Camas, Washington.

If you find yourself near Sharon or Lakeville Connecticut on Saturday, September 16 then join me for a reception and opening of my works at the White Gallery in Lakeville, Connecticut, 342 Main Street. The exhibition is titled “David Dunlop’s Electric Cities”. The reception runs from 5 to 7 pm.

Join me this November at Art of the Carolinas November 10, 11, and 12.  Contact Jerry’s Artarama.

November 10 workshop is: New Tools, Techniques and Textures. Use registration code FR1709.

November 11 workshop is: Methods of the Ancients with Flowers and Landscapes. Use registration code SA1709.

November 12 workshop is: Fast City Life. Explore new methods, tools and perspectives to evoke cityscapes. Use registration code SU1709.

Visit then, enter art of the Carolinas in their search box to register for the workshops or, go directly to or, call 800 827 8478 ext 156.






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Origins of Art Nouveau

We can trace an influence of science on art through Ernst Haeckel, a mid 19th century scientist/artist who inspired the visual arts through his botanical and zoological illustrations.  The Art Nouveau movement of the late 19th century owes much of its sense of form to Haeckel the scientist/artist (example 1, Haeckel illustrations).  Art Nouveau architects, painters, and jewelers like Binet and Galle praised Haeckel’s scientific drawings as a source for new expressive forms.  Example 2 presents one of artist/architect Rene Binet’s buildings for the Paris World Exposition of 1900 using Haeckel’s studies as his model.

Example 1. Haeckel illustrations of Radiolarian Protozoa.

Example 2. Rene Binet architecture for Paris Exposition.

Whether we consider Art Nouveau artists who looked back to mediaeval stylized interlacing floral patterns (example 3, mediaeval design) or to Haeckel’s illustrations, artists usually find inspiration in varieties of sources. We find further evidence of these sources in the work of Art Nouveau artists like Aubrey Beardsley and Alphonse Mucha.

Example 3. Mediaeval design from 12th century.

In my own work I have turned to some of these same sources for compositional ideas as well as developing a vocabulary of varied botanical forms.  I include a page of Haeckel’s tree moss illustrations in example 4.  Consider how this sort of illustration could affect my observations, designs, imbedded perspective and stylized patterning of the coneflowers I found in a park near me. Notice how I placed the viewer’s point of view deep within the flora. Example 5 represents my first of two paintings of the subject. It is 36×36.  Example 6 represents my second and more ambitious painting, 48×48.

Example 4. Haeckel’s tree mosses.

Example 5. First coneflower painting, oil on dibond, 36×36.

Example 6. Second coneflower painting, oil on dibond, 48×48.

Borrowing the “M” structure uniting the 12th century floral tracery seen in example 3 I began a 36×36 landscape on brushed silver aluminum.  Example 7 presents step one and example 8 presents the image in its present state.

Example 7. Step one of “Lakeville Landscape”, 36×36.

Example 8. Step two of  “Lakeville Landscape”, its present state.

At the moment I am working on an architectural series involving arches. They also partly refer back to the earlier example of Binet’s Paris Exposition structure and the studies of Ernst Haeckel (see example 9, Bridges).

Example 9. River Bridges, oil on dibond, 36×36, present state.

Connie Simmons of Simmons Art and I have just posted another YouTube video of one of my demonstrations of painting waves. Just click here for David Dunlop Sea and Shoreline Wave Study.
If you are interested in Shorelines, Waves and Ocean painting  we also have a new  series Painting Seas and Shorelines  (DVD or online) which gives hours of demonstrations in a variety of examples, plein air and in studio. Available at

Join me this November at Art of the Carolinas on November 10, 11, and 12.  Contact Jerry’s Artarama.
– November 10 workshop is: New Tools, Techniques and Textures. Use registration code FR1709.
– November 11 workshop is: Methods of the Ancients with Flowers and Landscapes. Use registration code SA1709.
– November 12 workshop is:  Fast City Life. Explore new methods, tools and perspectives to evoke cityscapes. Use registration code SU1709.

Visit then, enter art of the Carolinas in their search box to register for the workshops or, go directly to or, call 800 827 8478 ext 156.

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Pinball Cities

In rural Missouri just west of St. Louis are lost pieces of the Missouri River.  Occasionally the great river changes its course and leaves a trace like a horseshoe lake as a reminder of its past channel. Near one of those abandoned river channels  was a salt water swimming pool called Castlewood.  You could find it at the end of a tar-sprayed dirt road with a soft Ice cream store and a pinball bar and restaurant. I was attracted to the pinball machines, the taste of the salt water, and the allure of the bubbling road tar on hot summer day.

The pinball machine graphics triggered a fantasy life. Vivid colors, big city car chases and lots of action on a sloping electric table. These were qualities I would one day borrow for my paintings, especially those swooping perspective distortions and jittery flashing lights. Other artists have shared my affections for bright colors, motion, and perspective distortion.  Contemporary artists like Yvonne Jacquette and Wayne Thiebaud have used such distortions which may be traceable to the color, perspectives and actions of pinball machines. Consider example 1 by Wayne Thiebaud. Here are vivid colors and ribbons of perspective-distorted highways with a big city ambiance.

Example 1.  Thiebaud’s , “Urban Freeways” from 1979.

To find a pinball stage set you have to build one. I begin with photography and a willingness to stretch the capabilities of curvilinear  perspective. Example two is my original photograph as yet undistorted. Example three demonstrates how I began my painting.  Example four  presents the image as reversed, recolored, compressed and redesigned in its current state.

Example 2. My original photograph.

Example 3, My first step in creating the painting.

Example 4. Current state of painting, 36×36 oil on laminated aluminum.

Neither I nor the graphic designers for the pinball machines began our imagery without precedents.  To convert the box-like buildings into a geometric assemblage I looked to previous cubists like Georges Braque (example 4)  just as Braque looked to the discoveries of Cezanne as he began converting the landscape into flattened geometric planes ( example 5). And Wayne Thiebaud had seen others  from earlier in the 20th century to influence him like  Joseph Stella or Christopher Newinson (example 6) .  We can clearly see how Newinson joined curving perspective to the cubism of Picasso and Braque.

Example 4. Georges Braque, cubist landscape,1909 approx.

Example 5. Paul Cezanne, landscape, proto-cubist,1900 approx.

Example 6. Christopher Newinson, 1920.

As I continue on this path I tried to give curving and flattened planes a jittery luminous movement (recall the pinball action).  I looked to a local source, the Norwalk harbor bridges. Again, I began with photography and proceeded to layer and distort a set of bridge images into a newly synthesized picture.  Example 7 presents one of my original photos before layering and other distortions. Example 8 demonstrates some subsequent distortions.  And, example 9 presents my painting as it currently appears. It is in transition.

Example 7. One of the original photos.

Example 8. One of the later layered photo distortions.

Example 9, the painting in its present state.


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Jeweled Patterns With Atmosphere

The delight we find in arranging ornament and discovering  ornamental patterns reaches back to the beginning of human history as we carved and painted our stony walls.  Across time and cultures the patterns grew in complexity.  Even in our most regressive moments we found opportunities to embellish with patterns, colors, and symbols. Deep in medieval Europe around 800 CE the back cover of the Lindau Gospels offer a rich example of our fascination with ornamented patterns (example 1).  We enjoy interlocking curves suggesting vines, glittering colors reflected from jewels, and the rich arrangement of colors and shapes.

Example 1. Medieval Back Book Cover from the Lindau Gospels, 800 CE.

The arrangement of colors and shapes  within confined areas and along the edges of confined areas are well suited to how we pay visual attention.  Gustav Klimt as well as his mentee, Egon Schiele, enjoyed and employed  ornamented patterning in their paintings in the midst of the  Art Nouveau  movement in Vienna around 1900. Medieval decoration acted as a source for Klimt and other Art Nouveau artists. If we examine some of his landscape paintings from the period it’s easy to see they are as much ornamented patterns as they are landscapes (examples 2 and 3).

Example  2. Gustav Klimt, Rose Garden.

Example  3. Egon Schiele, Garden.

Klimt and Schiele, like their medieval masters exaggerated colors, isolated shapes, and simplified forms into turning , twisting shapes. Following that idea stream I created a landscape of compressed color tension as well as a compiling a series of similar shapes within a unified design form which offers the ambiguity of  perceiving space or a flattened map-like pattern.  The result is my painting in example 4.

Example 4. Beaver Pond, 36×36 oil on laminated enameled aluminum.

My next two examples continue with the theme of arranging jewel-like shapes rhythmically in receding space.  My first example (example 5, “Hamonassett Skies” ) was first introduced on Instagram but, has since been revised and further simplified.  The next painting is a work in process for me.  Here I present three sequential steps for this work (examples 6,7, and 8)  so you can follow my process.

Example 5. Hamonassett Skies, oil on laminated aluminum, 36×36.

Example 6, Fog At Otter Cove, oil on brushed silver laminated aluminum 24×48, step 1.

Example 7, Fog At Otter Cove, Step 2.

Example 8, Fog at Otter Cove, Step 3, present state.

My title for this blog post promised the inclusion of atmosphere partnered with pattern.  The following examples address the issue of  simplifing patterns along edges and interrupting  those edges with broken patterns as well as fog. These images also present distilled forms while simultaneously suggesting the  expansion of space. Example  9 presents  a Lakeshore in fog. This image is 24×24. I decided to expand the size of this image and try floating it over an older painting (example  10, under-painting and example 11, over-painting). This served to frame the image and add an additional ornamental complication.

Example 9,  Lakeshore in Fog, 24×24.

Example 10, Under-painting for  “Lakeshore in Fog”, 36×36.

Example  11, Over-painting for “Lakeshore in Fog”, present state 36×36.


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Woodland Veils

We derive much of our image of landscapes from the poet, Virgil of ancient Rome. His ideas were read and interpreted by artists like Nicolas Poussin in the 1600s.  Poussin kept to ancient classical themes while updating the form of his ideal landscape.  These landscapes were framed on the sides by trees and clouds acting as theatrical curtains. We refer to them as the coulisses. Through these curtains of trees we seek the luminous distance beyond.  In his landscapes Poussin also introduces water features in the foreground or middle distance as you see in example 1.

Example 1. Poussin Landscape from mid 1600s.

Landscape artists of the 18th and early 19th centuries used Poussin and Claude as models for structure and subject ideas.  Italian, French, English and American Hudson River painters borrowed the Poussin/Claude formulae.  The model mutated with each artist. By the mid 19th century Victorian watercolorists evolved the model into a carefully depicted idea known as the “Picturesque”.  Example 2 (Wilson watercolor) demonstrates such a carefully realized ideal landscape. We still look through the coulisse of framing trees toward a luminous distance. A subtle water feature can be seen in the lower right; it’s a brook winding toward a bright and infinite pastoral distance.

Example 2. Edmund George Wilson’s Victorian watercolor.

In my own example I borrow the idea of seeing through a screen of trees looking toward the distant light (example 4, painting). I also use a foreground water feature as way of carrying you across an intimate, fertile, shimmering foreground toward a distant bucolic and luminous meadow.  I discovered this subject two weeks ago in Acadia National Park in Maine. I began to rethink my composition by layering photographs in Photo Elements until I had new ideas with which I could further experiment in paint (example 3, layered photo).

Example 3. A composite layered photo, one of many from which I would begin my painting experiment.

Example 4. The painting.

My third historic example is another Victorian watercolor by Walter Tyndale from the 1870s (example 5).  Here the form has been modified to include Japanese influences from woodblock prints. The horizon is pushed higher.  We cross over a hedge of wildflowers with their top edge acting as a field of light.  As you see in examples 6 and 7, I too begin with a hedge of flora at the base of the picture plane (along the ground plane). The image then fractures into a field of water covered with flora which slowly dissolves across the distance. The high horizon is isolated by bands of light, both above and below the far line of distant trees.

Example 5. Walter Tyndale watercolor, 1870s.

Example 6. Step one of my lake side landscape, 36×36, oil on laminated aluminum.

Example 7.Step two, present state of the lake side landscape.


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Acadia in Mist

A couple of hours south of Maine’s Acadia National Park lies Prouts Neck, Maine. Here was Winslow Homer’s last home, studio and subject. Living on the Maine coast insures many hours of fog bound imagery.  Fog simplifies forms and dissolves their edges.  For Homer, fog was a compositional asset and aid. In example 1, an 1894 painting of his studio in an afternoon fog we see how Homer elegantly exploited the unifying and simplifying effects of fog.

Example 1. Winslow Homer’s Studio in Fog in 1894.

Frederic Church painted the foggy Otter cliffs along Acadia’s Eastern shore. In example 2 see how he too use the fog to simplify the shape of the cliffs  and create an aura of mystery.

Example 2. F. Church painting of fog along Acadia’s shoreline cliffs.

James Whistler used a mystery infusing fog  to blurr and simplify his subjects as seen in his painting from the 1870s (example3).

Example 3. James Whistler fog painting (in oil) 1870s.

As I revisited the Maine coastal locations of Homer’s studio and Church’s Acadian cliffs I also discovered a mysterious cloaking fog. To create the effect of foggy  uncertainty  I began example 5 (oil on aluminum) using an inverted older painting as a substrate.  This substrate (example 4) would give me opportunities for building textured richness and finding small luminous surprises as I scraped into my overlaying paint. The edges of the tree tops and receding rocks would all succumb to the dissolving effects of the fog.

Example 4. Step one, the substrate image before inverting.

Example 5. Step two, the present state of the painting, Fog at Otter Cliffs, an oil on aluminum.

With Example 6, an oil on brushed silver laminated aluminum I tried an unusual use of violet in the upper area to contrast with the light warmer toned shoreline. The luminous obscuring mystery of fog can be found along the upper horizon but also resides in the sky-reflecting water in this image of low tide at Otter Cove.

Example 6. Low Tide at Otter’s Cove, oil on brushed silver laminated aluminum.

Examples 7, 8, and 9 presents a misty landscape of Acadia within the island. The three steps represent the sequential development of the image. Here the fog descends from above hovering over the distant mountain. It resumes is obfuscating effects within the reflecting water below.

Example 7. Step one, the blocking in of the design.

Example 8. Step two, a texturing within a monochromatic grisaille.

Example 9. Step three, the painting in its present state.


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City Perspectives

Merge linear perspective to atmospheric perspective for an emotionally persuasive experience. Why? Because linear perspective’s feeling for measurable depth coupled to atmospheric perspective’s sensation of indefinite space will stimulate an emotion of space, movement and infinity. This brief post plans to demonstrate this.

Consider the diagram in example 1. Here is an eye level line with two vanishing points, one to the left and one to the right. In the following painting examples you will find various demonstrations of this diagram.  Observe that diagonal receding lines above the eye-level line descend to a vanishing point on the right while those below the eye-level line ascend to the same vanishing point on the right.

Example 1. Perspective Diagram.

This two vanishing point system is easily observed in example 2. Example 3 presents the same image after overlaying an obscuring blue atmosphere. Here you can determine if the atmospheric addition offers a stronger emotional mood but with less edge legibility.

Example 2.  Step one, City with two point perspective (Midtown Lexington Corners,36×36).

Example 3. Step two, Same image with obscuring atmosphere overlay.

A more abstracted two vanishing point image can be found in example 4.

Example 4, Abstracting Midtown, 36×36, oil on laminated aluminum.

Example 5 provides the same two point perspective program but uses a series of receding figures to the left vanishing point while most of the architecture recedes to the right vanishing point.

Example 5. Times Square Lovers, oil on aluminum, 18×18.

Example 6 uses the two point vanishing plan more covertly.  The street, cab and many of the buildings appear to all converge to the left vanishing point. Look more closely and observe that the tall buildings have one side receding to the right vanishing point.

Example 6, Speeding Toward Infinity, oil on laminated aluminum, 24×24.

Even more covertly notice how I used the two point system in Examples 7 and 8. The street recedes toward the right vanishing point but, the front of the buses and some buildings recede to the left. I give two examples here to demonstrate how an image subtly changes while working.  In example 7 I felt I over-exaggerated the narrowness of the front of the buses as well as creating too much shadow beneath them. Example 8 addresses those problems and adds further reflectance and atmospheric noise.

Example 7, Midtown Buses, step one, 24×24.

Example 8, Midtown Buses, step two, 24×24.

Landscapes too can rely on the persuasive power of combining linear and atmospheric perspectives. Example 9 demonstrates a mat of reeds and shore grass following vanishing points on the left while the entire image slowly acquires more edge obscuring atmosphere as the space recedes.

Example 9. Shoreline Matrix, oil on laminated aluminum, 24×24.

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NEW Online and DVD Painting Seas and Shorelines Workshop

NEW Online and DVD Painting Workshop
Painting Seas and Shorelines with David Dunlop
Online Version Now Available – DVDs available in 2 weeks
This Painting Seas and Shoreline Workshop has 4 programs and 3.8 hours of programming:
– Sea and Shoreline Introduction in the Studio (25 minutes)
– Painting Waves at the Shore – Studio Demonstration (97 minutes)
– The Sea and Rocky Coast at Prouts Neck, Maine (51 minutes)
– Rocks and Seagrass at the Shore – Studio Demonstration (56 minutes)

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Light Waves

Isaac Newton puzzled over light’s substance. Was it composed of particles (photons) or waves? In the 19th century scientists like Mathew Young determined light was composed of both, particles and waves. Our eyes receive light as electromagnetic touches which are transduced electro-chemically to the brain. We perceive color as a manufactured product of our brain.  We marvel that electro-magnetic wave patterns can appear as visible color to us.

Colored light hits our chromatic receptors (essentially three: blue, green and red; the red and green generate a sense of yellow). The more contrast in the colors (hue) and in the value of the colors (light vs. dark) the more vivid is our experience. By attending to color and value contrast we can make paintings appear brighter or duller, or sparkly, or luminously glowing. Our perceptions are keenest when dark areas are contrasted against light areas. Color contrast also arrests our attention but, not as much as the value contrast which explains why some of us do not realize we are color blind until early adulthood.  We operate very well just discriminating values.

Colors that are brighter like yellow have more stimulating contrast with their opponent or complementary color like ultramarine blue deep than other complementary color combinations because, their value contrast is strongest. I have three examples here which illustrate value and color contrast.  Example 1 presents a metaphorical wave pattern as well as literal ocean waves sliding over a shallow rocky plane. The contrast here is principally light vs. dark.

Example 1. Waves sliding over rocks, oil on dibond aluminum, 36×36,

Examples two and three present yellow in contrast with other colors. In example two there is area in the upper half of the painting in which the value contrast between bright yellow and pale blue and violet is small but, the color contrast is high.  Here the edges are more difficult to discern and painting appears to glow.

Example 2. Peonies in Yellow, blue and violet, oil on dibond,

In example three the upper third shares a close bright value and lots of yellow. As the viewer lowers their gaze the contrast between dark and light becomes heightened along with the color contrasts. Notice how the similar bright value and color (yellow) of the upper third appears to glow vs. the lower area which has more contrast with clearer edge discrimination.

Example 3. Bright Yellow Marshland, oil on dibond,

Until June 17 please visit an exhibition of my (40) paintings at Susan Powell Fine Arts in Madison, Ct at 679 Boston Post Road, 203 318 0616.

Join me for a viewing of selected new works at the Adam Cave Gallery in Raleigh, NC on the evening of Sunday June 25th from 5 to 7pm at 2009 Progress Court. 919-838-6692.

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Oceanic Vessels

As a child I watched as Jacques Cousteau discovered ancient amphora on the seafloor of the Mediterranean. I would imagine their history, their shipwreck, their spoiled contents, and the slow corrosive work of the sea on their aging appearance. Cousteau had interrupted the infinite sleep of these amphoras. Far above their seabed resting place the Mediterranean had splashed and undulated for millennia.  I thought I might return the experience of the sea to these ancient forms.

Example 1 shows a design/legibility error.  There is a light colored bar circled in red on the right side of the jar. This shape needed to be changed. It gave an erroneous and uncomfortable design experience.  It appeared disconnected to the meandering surface waves within the rest of the space.  In example two I reintegrated that area with the rest of the surface by introducing a rising meander  of waves.   This meander is also reminiscent of dragon and pine tree forms on ancient Chinese jars. This gesture further helped  reinforce the illusion of volume in the jar’s form.  The blurring of the base and outside edges further developed a realistic illusion of volume.

Example 1. Painting with circled problem area.

Example 2. Painting after introducing a rising meandering wave pattern.

Last week I presented example 3, another oceanic vessel. I saw that I should give more illusory volume to the form by softening, lightening, and blending some of the edges of the design form.  Both examples 2 and 3 are painted on 24×24 white enameled laminated aluminum panels.

Example 3, Oceanic Vessel, Rising Tide, oil on laminated aluminum.

Recalling the imagery of Chinese and Japanese antique jar/vases I decided to create a soft marsh landscape with reeds and leaves that appeared to climb and embrace the vase. I used a traditional Claudian landscape design with a distant visual goal (the far meadow) which I curved to help with support the illusion of the jar’s curvature. Example 4 demonstrates the result to this point.

Example 4. Oil on white enameled aluminum, 24×24, “Marsh with Infinite Meadow”.

Next I departed from my ancient vessel theme to try an illusory sphere. This sphere would hold an appearance of an aerial view of Manhattan which floats over a distant Manhattan below. I hoped for a fun and fanciful experience.  You can see how this image is developing in Examples 5 and 6. I plan to give a more glistening spheroid experience by later adding and blurring the paint. But, the process requires that I allow the paint to dry before continuing.  If this unrealized third step looks interesting I will present it in a later blogpost or instagram post.

Example 5. Step one, Floating Spherical Manhattan.

Example 6. Step two, Floating Spherical Manhattan in present state.

Example 7. Step three, unavailable and forthcoming…

Until June 17 please visit an exhibition of my (40) paintings at Susan Powell Fine Arts in Madison, Ct at 679 Boston Post Road, 203 318 0616.

Saturday and Sunday June 17 and 18 from 9 am to 4 pm, I am giving a two-day in studio workshop, “Natural Elements: Learn to Paint Nature from Historic and Contemporary Techniques” At the West Hartford Art League.  Call them (Elisabeth McBrien) at 860 231 8019 to register or visit their website at  go to “school” then to “workshops”  then to “spring 2017 workshops” for a fuller description.

Join me for a viewing of new works at the Adam Cave Gallery in Raleigh Durham, NC on the evening of Sunday June 25th.

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