Willem Anthonie Oepts

Landschap te St Tropez, Landscape at St Tropez

1940's

Early 20th century orientalist watercolour on paper by Aiveill, signed bottom right. In art history, Orientalism is the imitation or depiction ...

Mid 20th Century sketch drawing on paper by the Dutch artist Wim Oepts for his painting Jardin du Luxembourg from 1948 (SK115 Monografie en Oeurvr...

Mid 20th Century sketch drawing on paper by the Dutch artist Wim Oepts. A sketch from his Colliioure series from 1937 or his St Tropez series fr...

Early 20th century orientalist watercolour on paper by Aiveill, signed bottom right. In art history, Orientalism is the imitation or depiction ...

pastel on paper b. 1964 I became interested in landscape painting because there were no confines, except the edge of the paper and an ever-changing display of color, rhythm, and texture outside my front door. Landscape painting is a method that expresses my inner response to and reverent feelings for nature. I look for connections between things—how one color flows into another, forms engage and separate, how one point in space influences another. The changes focused along the horizon are constant; they are governed by the seasons, the weather, or the cyclical nature of the agrarian landscape. There are no grand gestures, just subtle variations that, when combined, create a certain splendor. I convey in my paintings what is most pleasurable to me, such as discovering tenuous beauty in spontaneous cloud formations, and the repetition of endless corn and soybean rows captured on a rolling landscape. The process begins with a "drive-by-shooting" and a sketchbook. I make large pastel paintings...

pastel on paper b. 1964 I became interested in landscape painting because there were no confines, except the edge of the paper and an ever-changing display of color, rhythm, and texture outside my front door. Landscape painting is a method that expresses my inner response to and reverent feelings for nature. I look for connections between things—how one color flows into another, forms engage and separate, how one point in space influences another. The changes focused along the horizon are constant; they are governed by the seasons, the weather, or the cyclical nature of the agrarian landscape. There are no grand gestures, just subtle variations that, when combined, create a certain splendor. I convey in my paintings what is most pleasurable to me, such as discovering tenuous beauty in spontaneous cloud formations, and the repetition of endless corn and soybean rows captured on a rolling landscape. The process begins with a "drive-by-shooting" and a sketchbook. I make large pastel paintings...

pastel on paper I became interested in landscape painting because there were no confines, except the edge of the paper and an ever-changing display of color, rhythm, and texture outside my front door. Landscape painting is a method that expresses my inner response to and reverent feelings for nature. I look for connections between things—how one color flows into another, forms engage and separate, how one point in space influences another. The changes focused along the horizon are constant; they are governed by the seasons, the weather, or the cyclical nature of the agrarian landscape. There are no grand gestures, just subtle variations that, when combined, create a certain splendor. I convey in my paintings what is most pleasurable to me, such as discovering tenuous beauty in spontaneous cloud formations, and the repetition of endless corn and soybean rows captured on a rolling landscape. The process begins with a "drive-by-shooting" and a sketchbook. I make large pastel paintings...

An original realist drawing by American female artist Catherine Koenig. This work is featured in the Draw Near exhibition currently on view at Benjaman Gallery.