Birch Landscape Paintings

25th Street, by Elise Zoller, 24 x 30 in. oil on panel. Elise Zoller has recently embarked on a series of plein air paintings of sites around Salt Lake City and in the smaller towns of Utah from Hurricane to Huntsville. She has enjoyed meeting people along the road and learning about the history of the state. “Plein air work can be physically demanding, but there is no substitute for working from life. Light and shadow dance in subtle ways a photograph cannot capture. Even the wind and the fragrances it carries inform the work. Scenes come alive when you stand in one place for a few hours. You’ve got to get to know a spot,” Elise says. “While I work, all manner of people come up and talk to me about their towns and their lives. I’ve met a downwinder from Enterprise, pie bakers in Veyo, pony cart...

This original oil painting on birchwood panel is painted in the shades of pale green wildflowers that one sees along forest paths and clearings as summer approaches. This is the silh...

"Rob Alexander's ""Twilight Approaches"" is an original, handmade oil painting that depicts the pink and yellow twilight reflecting on a snow covered lan...

This is an unframed original painting on birch panel. Unpainted edges. "Landscape provides Gregory Hardy with an inexhaustible source of mystery. His paintings are not representati...

Katrina Revenaugh Graffiti Garden No.9 Archival Pigment Ink, Gold Leaf, Acrylic and Spray Paint on Birch Panel with Gold Leaf Edges Year: 2023 Size: 24 × 20 x 1.75 inches (60.96 x 50...

This is an unframed original painting on birch panel. Unpainted edges. "Landscape provides Gregory Hardy with an inexhaustible source of mystery. His paintings are not representati...

LOOK FOR FREE SHIPPING AT CHECKOUT. ARTIST EXPLANATION OF THE PAINTINGS: In Bloom measures 36" x 36" x 1.5" and is oil on birch panel . Ready to hang with wire on the back. Artist d...

Katrina Revenaugh Graffiti Garden No.10 (Graffiti Botanical, Mixed Media, Gold Leaf, Vibrant) Archival Pigment Ink, Gold Leaf, Acrylic and Spray Paint on Birch Panel with Gold Leaf E...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

“Illuminated Branches Diptych” by Catherine Picard-Gibbs is a dynamic textural oil painting on board that depicts dappled sunlight filtered through the forest. A heightened palette o...

Parthelion By Angela Lane 2022 Oil on birch plywood Signed and dated, reverse

Breakthrough by Elaine Ford [2021] original Acrylic and Mixed Media on Birch Panel Image size: H:50 cm x W:50 cm Complete Size of Unframed Work: H:50 cm x...

Rob Alexander's "Afternoon Sunlight" is an original, handmade oil painting that depicts blue, rocky mountains covered with snow and reflecting sunlight a...

This is an unframed original painting on birch panel. Unpainted edges. "Landscape provides Gregory Hardy with an inexhaustible source of mystery. His paintings are not representati...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edwa...

In this ninth decade of life, and as a working artist for nearly70 years, Suzanne Benton has become interested in the concept of Late Style as described by the literary theorist Edward Said. “Each of us can supply evidence of late works, which crown a lifetime of aesthetic endeavor,” Matisse had it with his renowned paper cuts. While nearly blind, Monet created the water lily paintings as his final legacy to the history of art.  Benton's Late Style arrived as a surprise during the Covid pandemic. The resultant aloneness from sheltering in place brought her to an uncanny level of solitude that only painting could voice. She reached for the purest of colors, and entered a celebratory world to create the Neo-Transcendental paintings titled All About Color. The disappeared narrative came as a surprise. It had been the mainstay of the masks and mask tale performances, monoprints and paintings. This time though, the artist needed to bring a vibrancy to canvas, and to make tangible this sense of sheer essence that had pressed into her inner self in that time of stillness. Well educated in color by John Ferren, the abstract expressionist painter who’d taught the year’s color study at Queen College. The sensitivity developed further through four lengthy art-working journeys to India, starting in 1976-77, continuing with a 1992-1993 Fulbright, and additional South Asia residencies in 1995, and 2011. Those and others in Africa brought an ever more attuned palette to decades of monoprints with Chine collé that featured imagery from world culture, as well as her Americana of 19th and 20th century women writers, educators, suffragists, and feminists. These Late Style artworks explore the cosmic realm. Its deceptive simplicity reminds Benton of Buffie Johnson’s late work. She, an early celebrator of Great Goddess imagery turned to circles in her latter years. similarly, Benton had drawn on rich Goddess imagery since the 1970’s...

This is an unframed original painting on birch panel. Unpainted edges. "Landscape provides Gregory Hardy with an inexhaustible source of mystery. His paintings are not representati...

This is an unframed original painting on birch panel. Unpainted edges. "Landscape provides Gregory Hardy with an inexhaustible source of mystery. His paintings are not representati...

Oil on birch panel in excellent condition by Robin Reynolds. Abstract floral in vibrant colors, primarily green, with purple, blue and white. Robin Reynolds paints plein-air (outdo...

Oil on birch panel in excellent condition by Robin Reynolds. Abstract floral in vibrant colors, primarily green, with purple, blue and white. Robin Reynolds paints plein-air (outdo...

Oil on birch panel in excellent condition by Robin Reynolds. Abstract floral in vibrant colors, primarily orange, reds, with green and yellow. Robin Reynolds paints plein-air (outd...

Oil on birch panel in excellent condition by Robin Reynolds. Abstract floral in vibrant colors, primarily green, with purple, black and white. Robin Reynolds paints plein-air (outd...