Etienne Beothy Art

THE LONG SUMMER captures the patterned light peering through the blinds on a late Summer's afternoon. This painting is is part of an on-going series th...

"Rising Burst" is created by Heather Hartman to capture the light bursting through an obstruction. This painting is is part of an on-going series that explores the light and landscap...

WHIRL II captures the soft patterned shadow of the leaves. This painting is is part of an on-going series that explores the light and landscape in Tennessee. Hartman creates an image...

"View" captures an environment exposed through an obstructions such as streaks on glass. This painting is is part of an on-going series that explores the light and landscape in Tenne...

Trevor Bell (British, 1930 – 2017) Four, 1978 Gouache on paper Titled Signed and dated ‘Four / Trevor Bell 1978’ (on the reverse) 46.3/4 x 34.1/4 in. (118.8 x 87.2 cm.) Trevor Bell ...

Gouache and graphite on handmade paper. 24 x 18 inches unframed. 28 x 22.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow

A beautiful c.1950 French abstract gouache on canvas depicting a desert landscape. Excellent quality work in vibrant colours. Presented in its original painted pine frame. Artist: French School, mid 20th century...

Rolph Scarlett (Canadian/American, 1889 - 1984) “Abstract” Signed and dated 1947, lower right Gouache on paper Provenance: Private collection, Miami Florida About Rolph Scarlett w...

"Summer's End " captures the soft patterned shadow of the leaves. This painting is is part of an on-going series that explores the light and landscape in Tennessee. Hartman creates a...

Abstract, 1987 Hand signed and dated verso Not sure of technique. this might be a monotype or monoprint with hand painting. The handmade paper is cut somewhat irregularly as per the ...

WINDOW V captures the soft patterned shadow of the trees veiled by a sheer curtain. This painting is is part of an on-going series that explores the light and landscape in Tennessee....

Gouache and graphite on handmade paper. 24 x 18 inches unframed. 28 x 22.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow