Adaa Art Dealers Association Of America Landscape Paintings

Romona Youngquist was born on January 11, 1960 in Yuba City, California, but grew up in Eastern Oklahoma. Youngquist essentially started out in life as a child of nature, spending he...

oil painting on gessoed paper. trees, nature, green, landscape

VALERIE HIRD BREAK IN THE HORIZON, 2019 oil, monotypes, gesso, Arches paper, silver leaf, silver amulet 23 1/2 x 22 in. 59.7 x 55.9 cm. mythology

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to life through landscape, still life, portraiture, and abstraction. Restlessly creative, he has explored these varied genres with equal concentration…..” Bob Stuth-Wade’s method of painting is uniquely his own, having taught himself technique; his only formal training was as a teenager with Dallas artist Perry Nichols...

Framed size: 20.5" x 45.5" In a 12 karat gold frame

For artist Trish Nickell, life took a dramatic turn when she and her husband moved to Paris in 1996. Their planned year in France extended to a stay of 12 years. When they returned i...

Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to life through landscape, still life, portraiture, and abstraction. Restlessly creative, he has explored these varied genres with equal concentration…..” Bob Stuth-Wade’s method of painting is uniquely his own, having taught himself technique; his only formal training was as a teenager with Dallas artist Perry Nichols...

Painting from what he calls “the middle ground of common experience,” Trujillo uses his environments as the foundation for a personal vision. He depicts places common to North Americ...

Walking down a forgotten country lane, littered with stones and broken limbs, carpeted with the new growth of spring, I am exhilarated by warm days and the end of a long winter. I’m ...

landscape oil painting on canvas in painted frame. waterskape

Randall Exon (b. 1956) was born in Vermillion, South Dakota. Exon earned his B.F.A. in painting from Washburn University in Topeka, Kansas, and an M.F.A. at the University of Iowa. I...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to life through landscape, still life, portraiture, and abstraction. Restlessly creative, he has explored these varied genres with equal concentration…..” Bob Stuth-Wade’s method of painting is uniquely his own, having taught himself technique; his only formal training was as a teenager with Dallas artist Perry Nichols...

Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to...

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined paintings, prints and drawings, whose style defies convenient labels. Abstract, surreal, cartoonish, sci-fi fantastic, metaphysical, apocalyptic-Baroque - all of these fit but also fall short of fully describing his art." (Edward M. Gomez, "Futuristic Forms Frolic Under Eerie Texan Skies...

The overall dimensions, including the artist-made frame, are 25 x 37 inches.

In The New York Times Arts in America column, Edward M. Gomez writes of Valton Tyler, "visionary seems the right word for describing his vivid, unusual and technically refined painti...

Will Henry "Painting for Porter" 2019 Oil on linen 15 x 13 inches

Lloyd Goff studied at the Art Students League, and has work in the collections of the Smithsonian American Art Museum, Whitney Museum of American Art, and T...

Randall Exon (b. 1956) was born in Vermillion, South Dakota. Exon earned his B.F.A. in painting from Washburn University in Topeka, Kansas, and an M.F.A. at the University of Iowa. I...

It was Henry Cross's portraits of horses belonging to the prominent breeders and trainers of the second half of the nineteenth century that won the artist renown as an animal painter. Born and raised in upstate New York, Cross's proficiency in both drafting and caricature was revealed while he was still a student at the Binghamton Academy, New York. In 1852, when he was only fifteen years old, Cross joined a traveling circus that took him to Minneapolis, Minnesota, and to the first of many Indian encampments that he would draw upon for subject matter throughout his career. Biographers differ as to the year Cross left for Europe, however, he was in Paris from 1852 to 1853 or 1854, where he studied with Rosa Bonheur, a highly esteemed French painter of horses. Upon Cross's return to the United States he was commissioned to paint the studs of wealthy horsemen, including those of Commodore Cornelius Vanderbilt, Robert Bonner, the owner-publisher of The New York Ledger, and "Copper King" Marcus Daly, whose 18,000 acre stock farm was reputed to be the greatest and most valuable horse ranch in the world. Although Cross received the highest pay of any equine artist of his day (up to $35,000. for one order, according to The Horse Review of April 10, 1918, p. 328), he frequently joined traveling circuses and painted the locales where they visited. He also painted portraits of notable contemporaries, such as President Abraham Lincoln, ex-president Ulysses S. Grant, King Edward VII of England, W. F. "Buffalo Bill...

A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking degree in Urbino. He received a BFA...

Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to...

"Interspersed Field Realization, Big Bend, Texas," by artist Jim Woodson is oil on canvas. The unframed dimensions are 24 x 48 inches. The artist signed and titled the painting on ve...

A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking degree in Urbino. He received a BFA...

Signed (at lower right): DJ [monogram]; (on back): David Johnson 1865

"Behind my canvases, collages, and drawings lies a singular proposition: places are not inert; they are repositories for all that passes through them. My work is an inquiry into the ...

This painting cam about on a drive in the country not far from Youngquist's home; it’s on the way to the Oregon Beach. "We have farms and flower...

After a tour of duty in the US Navy, Miles Cleveland Goodwin earned a BFA from Pacific Northwest College of Art in Portland, Oregon, in 2007, and eventually returned to coastal Missi...

Colin Hunt (b. 1973) is a Brooklyn, NY-based artist working primarily in egg tempera and watercolor. His recent series of landscapes of the Avebury stone circle outside of London are...

Arthur Fitzwilliam Tait was born at Livesey Hall, near Liverpool, England, and began his career as a clerk at the gallery of Agnew & Zanetti’s Repository of Arts in Manchester. While...

For artist Trish Nickell, a native of Dallas, life took a dramatic turn when she and her husband, David Szafranski, co-founder of Gray Matters Gallery, moved to Paris in 1996. Their ...

Signed and dated (on verso): Diana Horowitz 2012

"I like to go back to a place. Seasons change. Light, which is theater, changes. Nature is tumultuous, and our contact with it makes life happen.” - David H. Gibson David H. Gibson ...

Thomas Fransioli, born in 1906 in Seattle, Washington, trained as an architect at the University of Pennsylvania. He worked as an architect before his service in World War II. Largel...

William Mason Brown was born in Troy, New York, where he studied for several years with local artists, including the leading portraitist there, Abel Buel Moore. In 1850, he moved to ...

Thomas Fransioli’s cityscapes are crisp and tidy. Buildings stand in bold outline, trees are sharp, and saturated color permeates the scene. But Fransioli’s cities often lack one critical feature: people. His streets are largely deserted, save for the rare appearance of figure and the occasional black cat scurrying across pavement. Instead, humanity is implied. Magic Realism neatly characterizes Fransioli’s viewpoint. First applied to American art in the 1943 MoMA exhibition “American Realists and Magic Realists...

n Lloyd Brown’s examination of America, we see small town intersections, train crossings, and rural stretches of road, in paintings made after he traveled across the United States on...

It is infrequent, to say the least, that a diagnosis of tuberculosis proves fortuitous, but that was the event, in 1921, that set Paul Starrett Sample on the road to becoming a professional artist. (The best source for an overview of Sample’s life and oeuvre remains Paul Sample: Painter of the American Scene, exhib. cat., [Hanover, New Hampshire: Hood Museum of Art, 1988] with a detailed and definitive chronology by Sample scholar, Paula F. Glick, and an essay by Robert L. McGrath. It is the source for this essay unless otherwise indicated.) Sample, born in Louisville, Kentucky, in 1896 to a construction engineer and his wife, spent his childhood moving with his family to the various locations that his father’s work took them. By 1911, the family had landed in Glencoe, Illinois, settling long enough for Paul to graduate from New Trier High School in 1916. Sample enrolled at Dartmouth College, in Hanover, New Hampshire, where his interests were anything but academic. His enthusiasms included the football and basketball teams, boxing, pledging at a fraternity, and learning to play the saxophone. After the United States entered World War I, Sample, to his family’s dismay, signed on for the Naval Reserve, leading directly to a hiatus from Dartmouth. In 1918 and 1919, Sample served in the U.S. Merchant Marine where he earned a third mate’s license and seriously contemplated life as a sailor. Acceding to parental pressure, he returned to Dartmouth, graduating in 1921. Sample’s undergraduate life revolved around sports and a jazz band he formed with his brother, Donald, two years younger and also a Dartmouth student. In November 1933, Sample summarized his life in a letter he wrote introducing himself to Frederick Newlin Price, founder of Ferargil Galleries, who would become his New York art dealer. The artist characterized his undergraduate years as spent “wasting my time intensively.” He told Price that that “I took an art appreciation course and slept thru it every day” (Ferargil Galleries Records, circa 1900–63, Archives of American Art, Smithsonian Institution, available on line). In 1920, Donald Sample contracted tuberculosis. He went for treatment to the world-famous Trudeau Sanitorium at Saranac Lake, in New York State’s Adirondack Mountains for the prescribed regimen of rest, healthful food, and fresh air. Visiting his brother in 1921, Paul also contracted the disease. Tuberculosis is highly contagious, and had no certain cure before the development of streptomycin in 1946. Even for patients who appeared to have recovered, there was a significant rate of recurrence. Thus, in his letter to Price, Sample avoided the stigma conjured by naming the disease, but wrote “I had a relapse with a bad lung and spent the next four years hospitalized in Saranac Lake.” The stringent physical restrictions imposed by adherence to “the cure” required Sample to cultivate an alternate set of interests. He read voraciously and, at the suggestion of his physician, contacted the husband of a fellow patient for instruction in art. That artist, then living in Saranac, was Jonas Lie (1880–1940), a prominent Norwegian-American painter and an associate academician at the National Academy of Design. Lie had gained renown for his dramatic 1913 series of paintings documenting the construction of the Panama Canal (The Metropolitan Museum of Art, New York; United States Military Academy, West Point, New York). Primarily a landscape artist, Lie had a particular affinity for scenes with water. His paintings, impressionistic, atmospheric, and brushy, never strayed from a realistic rendering of his subject. Sample regarded Lie as a mentor and retained a lifelong reverence for his teacher. Sample’s early paintings very much reflect Lie’s influence. ` In 1925, “cured,” Sample left Saranac Lake for what proved to be a brief stay in New York City, where his veteran’s benefits financed a commercial art course. The family, however, had moved to California, in the futile hope that the climate would benefit Donald. Sample joined them and after Donald’s death, remained in California, taking classes at the Otis Art Institute in Los Angeles. In Sample’s account to Price, “I couldn’t stomach the practice of painting a lot of High Sierras and desert flowers which seemed to be the only kind of pictures that were sold here so I got a job teaching drawing and painting at the art school of the University of Southern California.” Initially hired as a part-time instructor, Sample progressed to full-time status and ultimately, by the mid-1930s, to the post of Chairman of the Fine Art Department. Sample, however, did not want to wind up as a professor. “Teaching is all right in small doses,” he wrote, “but I have a horror of drifting into being a college professor and nothing more.” At the same time as he taught, Sample began to exhibit his work in a variety of venues at first locally, then nationally. Though he confessed himself “a terrible salesman,” and though occupied with continued learning and teaching, Sample was nonetheless, ambitious. In 1927, he wrote in his diary, “I am eventually going to be a painter and a damned good one. And what is more, I am going to make money at it” (as quoted by Glick, p. 15). In 1928, Sample felt sufficiently solvent to marry his long-time love, Sylvia Howland, who had also been a patient at Saranac Lake. The Howland family were rooted New Englanders and in summertime the Samples regularly traveled East for family reunion vacations. While the 1930s brought serious hardship to many artists, for Paul Sample it was a decade of success. Buttressed by the financial safety net of his teacher’s salary, he painted realist depictions of the American scene. While his work addressed depression-era conditions with a sympathetic eye, Sample avoided the anger and tinge of bitterness that characterized much contemporary realist art. Beginning in 1930, Sample began to exhibit regularly in juried exhibitions at important national venues, garnering prizes along the way. In 1930, Inner Harbor won an honorable mention in the Annual Exhibition of the Art Institute of Chicago. That same year Sample was also represented in a show at the Albright-Knox Gallery in Buffalo and at the Biennial Exhibition of the Corcoran Gallery of Art, Washington, D.C. In 1931, Dairy Ranch won the second Hallgarten Prize at the Annual Exhibition of the National Academy of Design, in New York. Sample also made his first appearances at the Carnegie Institute, Pittsburgh, and The Pennsylvania Academy of the Fine Arts, Philadelphia. In 1936, Miner’s Resting won the Temple Gold Medal at the Pennsylvania Academy’s Annual Exhibition. Always interested in watercolor, in 1936, Sample began to send works on paper to exhibitions at the Whitney Museum, New York. While participating in juried exhibitions, Sample also cultivated commercial possibilities. His first New York art dealer was the prestigious Macbeth Gallery in New York, which included his work in a November 1931 exhibition. In 1934, Sample joined the Ferargil Galleries in New York, after Fred Price arranged the sale of Sample’s Church Supper to the Michele and Donald D’Amour Museum of Fine Arts in Springfield, Massachusetts. In 1937, The Metropolitan Museum of Art purchased Sample’s Janitor’s Holiday from the annual exhibition of the National Academy of Design, a notable honor. As prestigious as this exhibition schedule may have been, by far Sample’s most visible presence in the 1930s and 1940s was the result of his relationship with Henry Luce’s burgeoning publishing empire, Time, Inc. Sample’s first contribution to a Luce publication appears to have been another San Pedro...

signed "Hugh H. Breckenridge" at lower left

Kristin Musgnug Moss-Topped Stump, 2016 oil on canvas, 30 x 30 inches From the press release for the current gallery exhibition: In the popular imagination, the forest is oft...

Randall Exon paints fusions of what he sees and what he imagines, creating imagery that is identifiable and yet somehow other-worldly. He draws inspiration from the farmlands along t...

CLAUDIA HARTLEY. I was born in California, but raised in Kentucky and Georgia. From the time I was old enough to hold something in my hand, I began to draw on anything available: ...

Romona likes to trick the eye, using muted colors and blurred contours painted as softly as a whisper. But in reality her canvasses are a war zone and her weapons of choice-sand pape...

In Miles Cleveland Goodwin’s soulful compositions, he narrates the story of his life. Goodwin responds to his environment, the lives of common folk living around him, and the mysteri...

This is acrylic on five panels in three interlocking frames

In lushly-colored paintings, Mark Messersmith creates dense narratives packed with animals, birds, plants, and insects that express his concern for the shrinking world they inhabit. ...

ARTIST STATEMENT "Since I began painting more than 30 years ago, my work has evolved dramatically in terms of style and subject matter. Underlying all the changes has been a consi...

Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to...

Signed "Twitty" at lower right

Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses ...

Miles Cleveland Goodwin says, "I don’t like to do things I don’t know." Not unlike the spirit of Southern literature and Delta blues music, there is an autobiographical nature to his...

Charles Temple Dix was born in Albany, New York, the youngest son of the distinguished statesman and soldier, General John Adams Dix. Having already visited Europe as a child, Dix re...

Joshua Shaw was a farmer’s son, born in Billingborough, Lincolnshire, and orphaned at the age of seven. After a boyhood of privation, he tried a number of occupations, until he finally apprenticed to a sign painter and found his métier. Shaw went to Manchester to study art, and by 1802 was in Bath, painting landscapes. In that year he began to exhibit his work at the Royal Academy in London. Essentially self-taught, Shaw achieved an impressive level of competence and versatility, producing portraits, floral compositions, still lifes, landscapes, and, cattle pieces. Shaw continued to send works for exhibition at the Royal Academy, the British Institution, and the Suffolk Street Gallery, all in London, until 1841. (Although Shaw is regularly mentioned and frequently illustrated in a host of general books on American art history, as well as included in numerous historical survey exhibitions, the only monographic study of this artist is Miriam Carroll Woods, “Joshua Shaw [1776–1860]: A Study of the Artist and his Paintings” [M.A. thesis, University of California at Los Angeles, 1971]. Apart from short biographical sketches in various dictionaries and museum collection catalogues, the two most interesting references, both contemporary, are John Sartain’s personal recollections in The Reminiscences of a Very Old Man, 1808–1897 [1899; reprint 1969] and an article in Scientific American from August 7, 1869, “Joshua Shaw, Artist and Inventor.” The article quotes extensively from an autobiographical document in the possession of Shaw’s grandson that Shaw prepared for William Dunlap...

Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to...

"Behind my canvases, collages, and drawings lies a singular proposition: places are not inert; they are repositories for all that passes through them. My work is an inquiry into the ...