Randall Exon

Queen Anne's Lace

2008

Oil on panel

Oil on panel

Gouache on board, 20 x 24 in. Signed (at lower right): Atherton Painted about 1940 RECORDED: Art News (May 11, 1940), illus. [clipping citation] EXHIBITED: The Art Institute of Chicago, 1940, The International Watercolor Exhibition, no. 156, illus. on cover as Bird in Cage...

In Colin Hunt’s new paintings, myriad tiny rocks, grains of sand, and strands of rockweed form a coastal beach, while lush forests pierce a crystalline sky. Elsewhere, palpable mists...

A Fall Scene (Autumn Landscape Painting with Red Barn and Tree in Golden Field) by Tracy Helgeson 2024 oil on panel 24 x 36 inches unframed Excellent condition and ready to hang Side...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...