Paintings

Lynton Wells Landscape, 1984 Oil on Canvas (with original Sable Castelli Label back of frame) Hand signed, titled, dated 1984 with artist's copyright symb...

Large-scale mixed media and gouache abstract by Nancy Louise Jones (American, 20th century), 1980. This large-scale abstract piece features a cool color palette with layered geometric shapes and planes, evocative of outer space and the cosmos. Signed and dated "1980" on the bottom right. Presented in a metal frame. Image size, 39"H x 48"L. About the Artist: Mentors: William Brice, Ron Pekar, Manfred Mueller, Gere Kavanaugh. Permanent Museum Collections: Huntington Library Archive, “Intimate View of LA”, San Marino, CA South Bay Contemporary Museum, Torrance, CA Published Work: 2012 “Nymphas Dissolutio”, The Bride Revisited Mercedes Gertz/ Nancy Louise Jones 2010 Billy IDOL...

5079 Cool Dog screened on canvas with hand applied impasto colorful oil

Attributed to Juan Bautista Martínez del Mazo (Castile 1611 - Madrid 1667) pupil and collaborator of Diego Velázquez Portrait of Charles II, King of Spain, as a child (1661 -1700) Spain, c. 1670 Oil on canvas 68 x 49 cm. - In antique frame 96 x 75 cm. The analysis of this portrait, and in particular the style with which its features have been outlined, brings us back to the great tradition of the 17th century Spanish school. The portrait depicts the young King Charles II of Spain, dressed in typical Spanish fashion, the youngest and only son of Philip IV of Spain and his second wife Maria Anna of Austria, as well as the last of the Habsburg dynasty to rule Spain. which portrayed the young ruler in full length at the age of four (dated 1665), dressed in a black suit and cape, and a large feathered...

Good condition overall. With beautiful carved wooden frame. All of our works are covered by our own guarantee of authenticity which covers the work for its lifetime of ownership wit...

Anthoon van Dyck (Antwerp 1599 - London 1641) workshop Christ Carrying the Cross - 17th century Oil on canvas (120 x 94 cm - framed 140 x 112 cm). This remarkable canvas, depic...

'Feminine Forms: Harmony in Curves', oil on board, German School (circa 1980s). Two nude figures portrayed in the abstract posture differently. Both are curvaceous and Rubenesque. Re...

Master of the Grotesque Vase (active in Rome and Naples in the first quarter of the 17th century) Still life of flowers in a classic vase oil on canvas 66 x 51 cm, In frame cm. 82 x...

Flemish 1600s School The Card Players oil on oak panel panel dimensions 22.5 x 20 cm frame included Provenance: From a Swedish private collection. Condition: Flat and stabl...

Man with Flower and Bird Jovan Obican French/Yugoslavian (1918–1986) Date: circa 1980 Oil on board Size: 28 x 22 in. (71.12 x 55.88 cm) Frame Size: 30 x 24 inches

An engraving by Jerónimo Wierix after Marten de Vos's Saint Michael the Archangel (Iglesia de San Miguel, Córdoba) may have been a source f...

Original acrylic on canvas painting by the well known Saint Tropez artist, Michel Guy Nochet. Signed lower right, “Guy Nochet. Dated in pencil on frame verso, 1983. Condition is ...

**Artwork sold WITHOUT frame** Guy Pittet (1929–2010) was a Swiss painter and watercolorist celebrated for his evocative depictions of urban and natural scenes, particularly those c...

Remembering the magic of everyday life moments in the art of David Teniers: The art of David Teniers the Younger (1610–1690) coincided with the heyday of the Flemish Baroque and captured a great variety of motifs of his time. In this painting of a seemingly simple peasant scene lies keys to understanding both the imaginative mind of Teniers as well as why this time period produced some of the most iconic works in all of art history.  As indicated by the name, Teniers was more or less born into his profession. As the son of David Teniers the elder, himself a painter who studied under Rubens, the younger David received training in art from a very young age and had no less than three brothers who also became painters. Because of his father’s frequent financial failures that even at times saw him imprisoned, David the younger helped to rescue the family from ruin through painting copies of old masters. Essentially, the young Teniers was confronted with painting as both a passion and creative expression as well as a necessity during difficult times, an experience that would shape much of his capacity and sensitivity in his coming life. Despite the hardships, the talent and determination of Teniers was recognized and quickly expanded his possibilities. He had already spent time in France and possibly also England when he was hired by his father’s former teacher Rubens to help with a prestigious commission with mythological paintings, now considered lost, for Philip IV the king Spain. In 1644–54 Teniers was appointed dean of the Antwerp Guild of Saint Luke, manifesting his esteemed position within the artistic community. A few years afterwards he took an important step when relocating to Brussels, where Teniers yet again found new career opportunities that would prove to be very successful. As the keeper of the collections of Archduke Leopold Wilhelm, a role similar to what we now refer to as an art advisor, Teniers purchased hundreds of important artworks that manifested the prominent status of the Archduke’s collection while at the same time providing an unusual access to inspiration and knowledge for Teniers himself. Since he kept on painting during the same time, his creative scope must have seemed almost bewildering in the great variety of images and stories that he surrounded himself with.  Regardless of how glamorous and culturally stimulating the career of Teniers was, he was as open to the charm and existential importance of everyday life as he was to works of great masters and luxurious collectibles. In his impressive repertoire of genres with everything from exquisite royal portraits, interiors, landscapes and history paintings he always added something new and inventive, highlighting the possibilities of art and importance of an experimental and intuitive mind. It is difficult to single out one aspect or genre to summarize his legacy, since it lies much more in the broad virtuosity across many motifs, although he is particularly remembered for farm scenes and meticulously depicted interiors where other paintings and artworks are captured with an astonishing precision. However, the fact that he is still today one of the most known and celebrated names of the Dutch Golden Age is a proof to the magic of his work, which continues to spark dialogue and wonder in the contemporary viewer of his works. The farm boy in the field in this painting, which likely dates to the mature part of his career, is a wonderful entry into the mind of Teniers. In the tightly cropped motif, we see him standing right in the middle of the busy harvest when men, women and everyone capable were sent out in the field to collect the crop that formed the very core of their diet and survival. In the background we see a fresh blue sky interspersed with skillfully painted clouds, some trees reaching their autumnal colours and in the far distance the glimpse of a small church and village. The presence of a church in a landscape, so typical of Dutch art, served both a symbolic and visual function as a representation of faith while at the same time defining scale and distance. In the field, the work is in full action with the farmers spread out in various positions, all in the midst of hard and sweaty labour. While they are portrayed as having nothing else than the work on their mind, our farm boy seems to have his attention directed elsewhere. Standing there with his white, half open shirt, flowy curls and strong, sturdy body; his gaze is directed away, out of the picture and the scythes in his hands. He looks almost smirking, expressed with tremendous subtlety in the slight smile of his lips and big eyes, being just in the middle of losing focus on the work. What is it that steals his attention? What has he seen, or realized, or felt – to break him free of the arduous task of harvesting, if but for a moment? Here starts the wondering and the questions that are the hallmark of a great piece of art. Instead of explicitly locking in the motif in overly clear symbolism Teniers has chosen an open ended, subtle yet striking moment for us to consider. While it of course can be related to numerous other farm scene depictions of this time, and clever usages of gazes and real-life scenes to underscore various moral or symbolic meanings, the painting can be much more of a contemplation than an explanation or illustration. The ordinary nature and understated yet emotionally textured composition of the motif gives greater space for our own reactions and thoughts. Has he seen a pretty farm girl just passing by? Is he fed up with the farm life, joyously dreaming away for a minute, imagining another future? Or is he simply in need of distraction, looking away and ready for anything that can steal his attention? One quality that never seem to have escaped Teniers was that of curiosity. During all of his career he constantly investigated, expanded and experimented with not only the style and technique of painting, but with the vision of art itself. Being credited with more or less introducing farm motifs for a broader audience not only tells us of his ability to understand the demand for different motifs, but the sensitivity to transform seemingly ordinary parts of life into deep aesthetic experiences, far beyond their expected reach. The farm boy in this painting is, of course, exactly that. But with the help of one smirk the entire picture is charged with a different energy, awakening many contrasts and relationships between the calm landscape, the hard work and his own breach of effectivity, holding sharp scythes while thinking or seeing something else. It is no wonder Teniers chose to work with farm scenes as a way of investigating these intricate and delicate plays on expectations and surprises, clarity and ambivalence. It invites us to an appreciation of human everyday life that connects us with the people of 17th century...

Portrait of a Gentleman in Armour beside a Table with Helmut c.1685 Follower or circle of Johann Kerseboom (d.1708) This exquisite Grand Manner work, presented by Titan Fine Art, wa...

Portrait Of Mary Wither Of Andwell, 17th Century Jacob Huysmans (1633–1696) to $750,000 Large 17th Century portrait of Mary Wither of Andwell, oil on canvas by Jacob Huysmans. Exce...

Wang Ming "Enter the World of Infinity" Acrylic paint on Japon paper mounted on canvas Dimensions: H: 39 inches: W: 25 inches WANG MING WANG Artist Ming Wang, born November 4, 1921, died peacefully on Sunday, June 26, 2016 in Bethesda. Ming Wang was born in Tianjin, China and was a pilot in Chinese Nationalist Air Force during WWII. Artist Wang Ming's journey began in the 1940s. As he worked as an air traffic controller in Taiwan, he became interested in the beauty of the sky. He was a young man then, having fled from Japanese-occupied China in 1939 at age 18. He came to the US for further military training where he met his first wife, the late Suen Chin. In 1949, Wang went Taiwan to escape the Communist takeover of China. He rejoined his wife and young son in Washington DC in 1951. To support a growing family, Wang founded the National Art and Frame shop in Washington DC. He studied art independently and developed his unique artistic style melding modern art with traditional Chinese calligraphy. His paintings, done with a mixture of inks and acrylics on fine paper, are a happy marriage of traditional Chinese disciplines with Western art as it has been handled by Joan Miro and Paul Klee. His works are minimalist and abstract, marked with good design and extremely sensitive use of color. The influence of 1950s American art and abstract expressionism is also clear in his work, and he exhibited with such Washington Color School luminaries as Kenneth Noland and Gene Davis in the 1960s. He later taught calligraphy at George Washington University. Years before the Hubble Telescope began broadcasting images of rainbow clouds and blood red stars, Ming used art to convey what he imagined space to be. His work captured the attention of James Dean, the National Air and Space Museum's first art collector, who purchased two of his pieces. In the 1960's and 1970's, Wang was represented by the Franz Bader Gallery in Washington DC. 1980: Brooklyn Museum, Brooklyn, New York American Drawing in Black & White: 1970-1980, by curator Gene Baro. “The visitors are invited to enjoy the rich variety of marks and means used in attacking subjects that range from meticulous representational rendering to extemporaneous gesture.” Included among many other artists, were Anni Albers, Jasper Johns, Willem De Kooning, Robert Rauschenberg, Jack Tworkov, Robert Motherwell and Andy Warhol. 1982: The Washington Post, by Jo Ann Lewis “His show at the Marvin Center at George Washington University, where he teaches calligraphy, should help clarify the unique nature of his art . ... ‘Independent Reality,’ in which dramatic curves dance across an opened scroll, taking on a life of their own-in any language. The show is filled with the artist’s very special of visual poetry.” He was included in the exhibition American Drawing in Black & White: 1970-1980, by curator Gene Baro at the Brooklyn Museum, Brooklyn, New York. Included among many other artists, were Anni Albers, Jasper Johns, Willem De Kooning, Robert Rauschenberg, Jack Tworkov, Robert Motherwell and Andy Warhol. Wang Ming was also included in the show Asian Traditions/Modern Expressions Asian American Artists and Abstraction, 1945 – 1970 at the Jane Voorhees Zimmerli Art Museum Rutgers, The State University of New Jersey New Brunswick. The senior curator Jeffrey Wechsler reviewed each artist for this traveling group exhibition, including C. C. Wang, Chen chi, Kenzo Okada...

Madonna with Sleeping Child Follower of Giovan Battista Salvi known as 'il Sassoferrato' (1609 - 1685) Roman painter 18th century Oil on canvas Measurements: canvas 64 x 50 cm, in frame 76 x 62 cm. This delicate depiction of the Madonna in adoration of the Child exhibits all the human dimension and sweetness of the maternal atmosphere: Mary clasps the sleeping child to her in a tender embrace, which touches her cheek, enveloped and protected by the mantle and even a flap of the mother's veil. The pictorial style and composition recall the ambit of Giovan Battista Salvi, the Sassoferrato, who distinguished himself expressly for this subject, with the Virgin immortalised in a humble and strongly earthly pose, depicted with simple white, red and blue colours and delicate plays of nuances on the faces and hands. This iconographic prototype was so successful that it became the painting for countless works destined for devotion during the 17th and 18th centuries, particularly appreciated for private commissions due to its marked gentleness and formal perfection, particularly of the faces. Born in Marchigiano, Salvi developed his activity in Rome, following the dictates of the classicist sacred painting of the Bolognese school of Reni, Carracci and Domenichino, but succeeding in having an autonomous and therefore clearly distinguishable style.  In very good overall condition, there are some small scattered restorations and some unravelling of the painted surface. Framed in a beautiful gilded frame. ADDITIONAL INFORMATION: The work is sold with a certificate of authenticity and descriptive iconographic card. We take care of and organise the transport of the purchased works, both for Italy and abroad, through professional and insured carriers. It is also possible to see the painting in the gallery in Riva del Garda...

This exquisite 18th-century portrait depicts a young girl, delicately rendered in the style of Sir Godfrey Kneller, one of the most celebrated portrait painters of the Baroque period...

Judith With The head Of Holofernes, 17th Century School of CARLO MARATTA (1625-1713) Large 17th Century Italian Old Master oval depiction of Judith With The Head Of Holofernes, oil...

Oil on Canvas. Northern Italian school of mid-17th century. The man portrayed appears dressed in a wide black cape, severe if edged with white lace at the wrists, seated at his desk ...

This exquisite Grand Manner work, presented by Titan Fine Art, is an evocative example of the type of portrait in vogue during the seventeenth and eighteenth centuries. Beautifully ...

Oil measures 73x92 cm. Frameless. Francisco Carbonell Massabe (1928) Francisco Carbonell Massabe was a Catalan painter with an impressionist spirit. It was in La Lonja and in Bella...

Godfrey Kneller (Lübeck 1646 - London 1723) circle of Portrait of a Gentleman in a Garden Oil on canvas 67 x 47 cm. Framed 84 x 64 cm. The painting depicts a nobleman portrayed f...

Still Life With Mimosa Flower Arrangement - Oil On Canvas Original 1988 still life oil painting depicting a small blue vase of yellow mimosa flowers by Francisco Giordano (Italian, ...

Abstract, large scale red, orange, crimson, black, and pink scene with lines, shapes and hand painted brushstroke texture. This dramatic Howard Hodgkin work is ideal for display in m...

Portrait of a Noble Lady European School, 18th century oil on canvas, framed framed: 37.5 inches canvas: 30 x 24.5 inches provenance: private collection, France condition: very good ...

Green,Village ,Russian Art,Impressionist ,countryside Nikolaj LATYSHENKO (Artjomovsk, Ucraina, 1937) Born in Ukraine in 1937, he first studied in Saratov and in 1957 he joined the R...

Oil measures 60x73 cm. Frameless. Cleaning and removing old varnish is recommended. A painter born in Baeza but living in Valencia, José Cózar joins his a...

This fine oil on canvas, attributable to a late 17th-century Venetian artist, is a coeval copy of the famous portrait by Pieter Paul Rubens, documented in the collections of Cosimo I...

Oil on canvas. cm 60.5 x 2 x 50 Nice Oil painting (Italian School of XIX century) with a rapid sign and intense colors backgrpound. Some color cracking on left margin and top edge, ...

Juris Zvirbulis was born in 1944 in Riga. 1970 graduated from the Riga Secondary School of Applied Arts decorators department. 1971 Member Artists' Union of the Latvia. In 1971 F...

A large pair of 18th century veduta capriccio scenes with temple ruins after Gennaro Greco from the circle of Pietro Cappelli. The paintings are presented in more modern carved gilt ...

17th century Veronese School Title: Judith with the Head of Holofernes Medium: Oil on canvas Dimensions: without frame 144 x 113 cm – with frame 163 x 131 cm Publications: Body, lo...

This intriguing colourful contemporary painting so impressively large in scale and architectural in form is by Canada’s Yvonne Lammerich. Recognized both nationally and international...

Francesca Volò Smiller, called Vincenzina (Milan, 1657 - 1700) attributed Floral composition overflowing from an embossed vase (LINK) Oil on canvas 79 x 61 cm. Framed 89 x 70 cm. T...

Tiberio Titi (Florence, Italy, 1573 – 1638) Title: Portrait of a Gentleman Medium: Oil on panel Dimensions: Without frame 122 x 91 cm – with frame 162 x 133 x 10 cm Publications: G...

Christ and the Samaritan woman at the well Attributable to Ludovico Pozzoserrato (Antwerp circa 1550 - Treviso 1605) Oil on the table 37 x 27 cm., In ...

Pierre Coquet – Abstract Composition Reference number A85 Framed with a natural oak floated frame 55 x 70 cm frame included (50 x 65 cm without frame) This work is painted with oil on a paper that is mounted on a board and placed in a made to measure wood strectcher. Stamp of the signature in the bottom right Pierre was very sensitive to abstract paintings. He did a lot of abstract works melting colors and shapes in different atmosphere and style. Nevertheless he could come back to figuration and again to abstraction with no precise period of time. Abstract paintings by Pierre Coquet represent a large part of his production. The constant search for balance between shapes and colors as well as his passion for Nicolas de Staël, André Lanskoy, Alfred Mannessier… takes him on different paths from what we know of him. His way of painting is strong and thoughtful, the lines stretch out and the harmonious touches, applied with sobriety, reveal a great sense of color. Provenance : Workshop of the artist (stamped and numbered on the back) Pierre Coquet (1926-2021) is a French painter who was born in Limas near Lyon, France. He entered the Ecole des Beaux Arts in Lyon in 1942 and followed the teaching of Antoine Chartres, Henri Vielly and René Chancrin. He won a prize in 1945 and joined a movement that wanted to be outside of any school whose name ends with “ism”, (like impressionism, cubism…) between figuration and the renaissance of Abstract Art, bringing together young generations under thirty and eager not to submit to any technique. The “Sanzism” (literally without « ism ») will bring together, among others, painters: James Bansac, Roger Bravard, André Chaix, Jean Mélinand, Paul Clair, André Cottavoz, Pierre Doye, Jean Fusaro, Jacques Truphémus, André Lauran...

'Portrait of a Smiling Woman', oil on board, by Peter Robert Keil (1983). A cheerful look on the painting's subject puts a smile on the face of the viewer as well. Her beautiful blue eyes express a contentedness suggesting life is good...

#5-2897 Blue figures,contemporary acrylic on board,displayed in a black wood frame,signed lower left by Veron .Image size 9.5 H x 7.5 W

Patricia Zippin View Through the Window 1980s Mixed Media 20"x 14.25" white wood gallery frame float mount 24.5"x19.5 Patricia Jayne Zippin (1930-2015) She was born to Ben and Dorot...

Orpheus is an original artwork realized in the first decades of the XVII century and attributed to the Italian master Tommaso Salini. Oil painting on canvas. A golden wood frame is...

Oil on Canvas. North Italian school of the 17th-18th centuries. The scene has in its center the figure of the Risen Christ who, seated on the clouds, holds the Cross with one hand an...

Naval Shipping in Stormy Seas English School, 18th century circle of Charles Brooking, (1723-1759) oil painting on canvas: 16.5 x 21.5 inches Morland ...

School of Antonio Allegri, known as Correggio (Correggio c. 1489 - 1534) Attributable to Pomponio Allegri (Correggio, 1522 - Parma, 1593) Madonna and Child, Two Angels and John the B...

Still life with flowers oil/cardboard, 51x40 cm

One dollar bill with Keith Haring's hand-painted work Signed by Keith Haring and Andy Warhol From the private collection of Lucio Amelio Stamped by Tony Shafrazi Gallery Cartier Gold...

Saint Michael the Archangel victorious over the Devil Tuscany - 16th century Oil on canvas 68 x 52 cm. - In frame 97 x 78 cm. Of great character is this interesting St. Michael the...

Ignacio Gil Sala, was a painter, bohemian character, adventurous and intrepid traveler who knew how to capture his eyes to that world with his painting. A...

Work on canvas Work re-lined Plaster and gilded wood frame 86 x 105 x 7 cm

Alms for the Poor by Richard Brakenburg (Flemish 1650-1702) oil on canvas, unframed Canvas: 25 x 30 inches Provenance: private collection, France, extensively inscribed verso Conditi...

Paul Pagk Untitled Geometric Abstraction, 1989 Gouache and watercolor on paper Signed, dated and inscribed "A Jacqueline". Frame included Excellent unique work on paper by contempora...

Edmund Garvey (Kilkenny 1740-1813) A view of Bath Oil on canvas Canvas Size 20 x 28 in Framed Size 26 x 33 in Edmund Garvey (1740 – 28 May 1813) was an Irish landscape painter whose...

Bolognese school of the seventeenth century Circle Giovanni Battista Ramenghi, known as Bagnacavallo (Bologna, 1521 - 1601) Oil painting on canvas (86 x 72 cm. - With antique frame ...

Signed post impressionist figures in landscape oil circa 1980 by French painter Max Michel Agostini. The work depicts park-goers on a path beside a lake on a sunny spring day. There ...

Tom Alan Lieber, (American, born 1949), GTW TL-11 1986, Oil and mixed media on paper, 30.25 x 44 inches, Hand signed and dated lower right Provenance: Garner Tullis Workshop, N....

Untitled Landscape is an original acrylic painting on canvas by Tom Perkinson. His use of saturated violets, vivid yellows, and resplendent oranges pushes color to almost-otherworldly realms. The viewer is invited to step into the painting to explore the scene within and imagine gazing at an easel of a plein-air painter with the water-filled sky and saturated ground in full view. Here, Perkinson chose to depict the beauty and calm of the rain, with an expansive view of a lush landscape. Women are holding umbrellas in the middle ground with their young children enjoying the feeling of rain drops. A pond just creeps into view from the right and the edge of town can be seen in the distance, just over the trees. Perkinson describes his style of painting as "Romantic Realism," a technique that incorporates two iconic art movements. This style, in combination with the imagination of the artist, produces remarkable results, showcasing Perkinson's keen ability to capture emotion, nature, and life - all in a brushstroke. Both his technical talent and choice of subject matter pair perfectly with its carved, custom, antique-finish, gilt frame. This masterful work would make a great addition to an art collection and enhance most any home, perfect for those who have an affinity for landscapes, impressionism, romanticism, realism, plein-air painting, and nature. In the artist’s own words: “My color combinations aren’t in the realm of the natural world, because I don’t paint reality; I’m a painter of fiction. I try to paint a sense of place, as though this scene really does exist. I have had my collectors ask me where this scene is, and I just have to point to my head and say I made it up. Thus, I think of my work as romantic realism. I’m painting a certain reality that I’ve invented, inspired by the fascinatingly rich Southwestern landscape.” “Color gets all the credit, but it’s the values that do all the work. I don’t begin with sketches, because I want to be free to follow the painting in any direction. I start with washes of different values and tints. Then, I begin to look for a landscape. Several directions will appear to me at this time, and then I have to decide on one of them. During these first few moments, I must establish my distance from the scene. Am I a mile away or just across the river? This is one of the first steps, and I have to decide before I can continue. It’s important for working out the perspective and how things are going to relate to one another in the picture. Then, as the landscape evolves, I look for more images to add to the composition.” Artist: TOM PERKINSON (1940-) Title: UNTITLED LANDSCAPE Medium & Surface: ORIGINAL ACRYLIC PAINTING ON CANVAS (framed) Signed: HAND SIGNED AND DATED BY ARTIST LOWER RIGHT Year Created: 1983 Country of Creation: UNITED STATES Image Area Dimensions: 24 x 40 INCHES Frame Dimensions:* 28.5 x 44.75 x 1 INCHES *This work of art is being sold framed. If you would like to change the frame to better match your style or environment, please contact us for Custom Archival Framing options. Additional Info: HIGHLY COLLECTIBLE WORK BY TOM PERKINSON IN GREAT CONDITION IN A CARVED CUSTOM ANTIQUE-FINISH GILT FRAME. FRAME IS IN GREAT CONDITION CONSISTENT WITH AGE AND STYLE. Artist Info/Bio: ARTIST BIOGRAPHY DOCUMENT IS INCLUDED Documentation: CERTIFICATE OF AUTHENTICITY IS INCLUDED About the Artist: Tom Perkinson, born in Indiana in 1940, has become distinguished as a regional painter, known for his work grounded in the visually dramatic landscape of the Southwest. As a child, Perkinson discovered he had a love for the natural landscape, and a talent for art. He fostered that talent through classes at the John Herron Institute of Art in Indianapolis, and then at the Chicago Art Academy upon graduating from high school. He received a degree in art from Oklahoma Baptist University in 1964, before moving on to graduate school at the University of New Mexico. Here, among noted works of a larger scale, he continued to paint the landscape, and it was this work that began to reflect a new fascination with the Southwest. He had found what would become an infinite source of inspiration. Influenced by early painters of the southern Indiana landscape...