CLICK ON THE PICTURES TO ENLARGE THEM.
Cades Cove, TN, 20 x 30, oil on canvas, 2008. A beautiful spot in eastern Tennessee. This painting is in my personal collection.
Jesus Praying In The Wilderness II, 20 x 30, canvas, 2004. The 2nd of 2 in this series, now in the collection of C.F.
The Boathouse through a temperament, 24 x 30, canvas, 2015, collection of A.L.
the Last Supper, canvas, 18 x 24, 2011, collection of M. S.
the Sermon on the Mount, canvas, 18 x 24, 2005, NFS.
Our Humble Abode, 16 x 20, canvas, Aug. 2019, collection of A.L.
the isolated child, 18 x 24, canvas, June 2020, collection of M. F. This was painted during the COVID pandemic. I could not think of a better way to express my feelings than to show an innocent child grappling with life all by herself. Because to a large degree that is what we all have to do, isn't it. The odd thing is that often as adults we do it less successfully than children do it. They are smarter than we give them credit for.
My angel speaks to me, 24 x 24, wood, March 2021
You know, I used to look at paintings done by the painters I most enjoy - Cezanne, Soutine, Rouault... so many of them! - and I could see lots of marks that I didn't understand. I asked myself, "Why did they leave those marks there like that - those obvious mistakes - when anyone can see they don't fit in... they aren't right." I might have changed them, but these masters left them as they were... and the paintings are great in spite of them. After much contemplation over the years I understand better now why I think they are great. It is in part because of the errant marks. So now in my own paintings I too leave some marks in sometimes - pentimenti, for example - because I think they add interest to the painting. I tell myself over and over that I don't necessarily want a perfect painting... what I want is an appearance of spontaneity, and a painting that captures the imagination, that is interesting to look at, that elicits some emotion. So when I say I paint until it is right, what I mean is I keep painting until I get it the way I want it to be - not until it is perfect. I remember reading about Cezanne and a friend of his. They were looking at a painting by an acquaintance and the friend was remarking how perfect it was, how realistic! Cezanne said, "Yes, it is horribly realistic", and walked away. "Horribly" realistic! I understand why Cezanne responded as he did: because it is the presentation - the overall effect - that is important, not whether it is a realistic copy of nature. Art is something else altogether. It is its own reality.
Landscape with man and angels, canvas, 11 x 14, June 2021
girl on a backyard swing, canvas, 9 x 12, Sept. 2021
The Boathouse, Long Lake, Myrtle Beach, SC, 18 x 24, canvas, 2015
St. Francis of Assisi, 24 x 24, canvas, 2016, collection of L.B.
descent from the cross, 24 x 30, canvas, 2010, collection of TPC.
afternoon at the park, 18 x 24, wood, Dec. 2020
Gauguin rising from his ashes, 18 x 24, canvas, Feb. 2021
abandoned house in the woods, 18 x 24, canvas, Feb. 2021
cottages, 9 x 12, canvas, 2001
McClellanville, SC, 9 x 12, canvas, 2002, collection of Mr. and Mrs. T.S.
the artist with new paintings and old ones, 2021
Encounter in the garden, each regarding the other, canvas, 16 x 20, April 2021
Horse Stamp Church Road, canvas, 16 x 20, May 2021
Madonna and child, 24 x 36, canvas, 2019