Michel Brosseau

"Petit Port" oil painting of a blue boat and shingled shack on the harbor

2023

The rhythm of the waves marks time, like the breath. Moment to moment, its intensity fluctuates like emotion. Thoughts linger and pass, like a veil of fog. At the shore I am reminde...

The rhythm of the waves marks time, like the breath. Moment to moment, its intensity fluctuates like emotion. Thoughts linger and pass, like a veil of fog. At the shore I am reminded to be present. It provides a place for contemplation and reflection. I identify with the strength and vulnerability of the ocean when a storm is brewing or passing, when the surf is up, when the fog looms or is lifting, when the horizon is obscured, or the sky begins to clear, I find beauty in these moments of transition. I bring this experience into the studio as I interpret the smells, sounds, feelings, and energy of the water or the quiet movement of fog. The process is fluid, moving between freedom and control, accident and intention, as I push and pull the paint to convey and realize my visual and emotional experiences. BIOGRAPHY Annie is a British painter and printmaker. She moved to New York City in 1989 and worked at the British Consulate. Art remained a part of her life during those years, but in 2006 she left and begin a new chapter, returning to a life with art at the very center and enrolled in an MFA program at the The New York Academy of Art. This provided the instruction, immersion and creative freedom to develop her skills and artistic voice and proved to be a fruitful time bringing with it several awards including a Post-graduate Fellowship, Prince of Wales Scholarships, and travel awards to Normandy, France and St Barts, in the French West Indies. After the fellowship Annie left New York for the East End of Long Island and spent two wonderful years in the quiet hamlet of Orient, as Artist-in-Residence at the William Steeple Davis...

“People sometimes ask me how I start a painting. Starting a painting is easy. I just put down two strokes of color. The interaction between these two marks is the beginning of the di...

From an incandescent sunset on Long Island Sound to an iconic pop-kitsch ice storage bin at the neighborhood corner store, Rob Brooks offers us a visual journey from the real to surr...

"Morning Breaker" Cresting Wave in Blues and Greens The rhythm of the waves marks time, like the breath. Moment to moment, its intensity fluctuates like emotion. Thoughts linger and pass, like a veil of fog. At the shore I am reminded to be present. It provides a place for contemplation and reflection. I identify with the strength and vulnerability of the ocean when a storm is brewing or passing, when the surf is up, when the fog looms or is lifting, when the horizon is obscured, or the sky begins to clear, I find beauty in these moments of transition. I bring this experience into the studio as I interpret the smells, sounds, feelings, and energy of the water or the quiet movement of fog. The process is fluid, moving between freedom and control, accident and intention, as I push and pull the paint to convey and realize my visual and emotional experiences. BIOGRAPHY Annie is a British painter and printmaker. She moved to New York City in 1989 and worked at the British Consulate. Art remained a part of her life during those years, but in 2006 she left and begin a new chapter, returning to a life with art at the very center and enrolled in an MFA program at the The New York Academy of Art. This provided the instruction, immersion and creative freedom to develop her skills and artistic voice and proved to be a fruitful time bringing with it several awards including a Post-graduate Fellowship, Prince of Wales Scholarships, and travel awards to Normandy, France and St Barts, in the French West Indies. After the fellowship Annie left New York for the East End of Long Island and spent two wonderful years in the quiet hamlet of Orient, as Artist-in-Residence at the William Steeple Davis House. It was here that Annie met and became a studio assistant to Master Printmaker Dan Welden and continues to assist him at workshops in the North East, including Haystack School of Crafts in Maine, Provincetown Fine Arts Work Center, and Montserrat College of Fine Arts. In 2011 Annie left the East End of LI and moved to Mystic Ct...

“People sometimes ask me how I start a painting. Starting a painting is easy. I just put down two strokes of color. The interaction between these two marks is the beginning of the di...

Artist: Bernhard Buter (1883-1959) German Title: Rhinish Landscape Medium: Oil on Canvas Dimensions: Framed 19” x 21” , Unframed 11 x 13” Bernhard Buter paints agrarian landscapes i...

Rene Genis (French 1922-2004) “Les Falaise Normande” / The Cliffs of Normand. A sea scape with high cliffs, the beach, and two fishermen. The cliffs are in browns, tans and olives a...

Rene Genis (French 1922-2004) Monument Valley. 1967. Beautiful oranges, browns, greens against a turquoise blue sky. Oil on canvas, laid on mat. Si...

The Great Fire of London in September 1666 was one of the greatest disasters in the city’s history. The City, with its wooden houses crowded together in narrow streets, was a natural fire risk, and predictions that London would burn down became a shocking reality. The fire began in a bakery in Pudding Lane, an area near the Thames teeming with warehouses and shops full of flammable materials, such as timber, oil, coal, pitch and turpentine. Inevitably the fire spread rapidly from this area into the City. Our painting depicts the impact of the fire on those who were caught in it and creates a very dramatic impression of what the fire was like. Closer inspection reveals a scene of chaos and panic with people running out of the gates. It shows Cripplegate in the north of the City, with St Giles without Cripplegate to its left, in flames (on the site of the present day Barbican). The painting probably represents the fire on the night of Tuesday 4 September, when four-fifths of the City was burning at once, including St Paul's Cathedral. Old St Paul’s can be seen to the right of the canvas, the medieval church with its thick stone walls, was considered a place of safety, but the building was covered in wooden scaffolding as it was in the midst of being restored by the then little known architect, Christopher Wren and caught fire. Our painting seems to depict a specific moment on the Tuesday night when the lead on St Paul’s caught fire and, as the diarist John Evelyn described: ‘the stones of Paul’s flew like grenades, the melting lead running down the streets in a stream and the very pavements glowing with the firey redness, so as no horse, nor man, was able to tread on them.’ Although the loss of life was minimal, some accounts record only sixteen perished, the magnitude of the property loss was shocking – some four hundred and thirty acres, about eighty per cent of the City proper was destroyed, including over thirteen thousand houses, eighty-nine churches, and fifty-two Guild Halls. Thousands were homeless and financially ruined. The Great Fire, and the subsequent fire of 1676, which destroyed over six hundred houses south of the Thames, changed the appearance of London forever. The one constructive outcome of the Great Fire was that the plague, which had devastated the population of London since 1665, diminished greatly, due to the mass death of the plague-carrying rats in the blaze. The fire was widely reported in eyewitness accounts, newspapers, letters and diaries. Samuel Pepys recorded climbing the steeple of Barking Church from which he viewed the destroyed City: ‘the saddest sight of desolation that I ever saw.’ There was an official enquiry into the causes of the fire, petitions to the King and Lord Mayor to rebuild, new legislation and building Acts. Naturally, the fire became a dramatic and extremely popular subject for painters and engravers. A group of works relatively closely related to the present picture have been traditionally ascribed to Jan Griffier...

Zygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...

Flat Ledge Quarry is one of the many granite quarries in Rockport MA, which actively produced granite for cobblestones until the early 20th century, when asphault became the preferre...