Landscapes
Landscapes don't surface much in the History of Art until around the time of the Renaissance, at least in Europe. The early art that has survived from Egypt and Mesopotamia is mostly of people and buildings. Of Greek's Golden Age, we idolize architecture such as the Parthenon (completed 438 BC), and sculpture such as the Charioteer of Delphi from the same era, plus figures (including some runners) on elegantly crafted vases. The Romans continued those traditions. If ancient painters did landscapes, their work and names have been lost to history.
During the Dark Ages, the arts floundered somewhat except in the religious arena. Even in the Renaissance, landscapes were mostly something that existed in the background of other paintings, such as behind the Mona Lisa by Leonardo da Vinci. By the Seventeenth Century, painters began to look to landscapes as a subject unto its own. While in graduate school at the University of Chicago, I did a term paper on the work of Nicolas Poussin, a French painter who died in 1655. Most people have never heard of Poussin, but you can find his work in the Art Institute of Chicago. Two of the best known English painters from the following century are John Constable (died 1837) and Joseph Turner (died 1851). Their work inspired some of the work by the soon-to-follow French Impressionists (Degas, Monet, et al), who produced the most popular landscape painting of all time, judging from attendance at exhibits of their art. Landscapes definitely were mainstream themes for Twentieth Century artists working in all styles and that includes Roy Lichtenstein, who focused some of his attention to landscapes between 1964 and 1969, a period when he seemed to tire of his comic book rip-offs.
I'm at about that point to and enjoy doing the occasional landscape. For examples not included below, go to Mountains. One of my favorite paintings is the final one I did of Denali, where after several preliminary paintings and sketches, I produced a work that was almost Pop Art, but not quite. My painting of Winter Park below was done in the same manner. On a trip to Arizona, we paused several days in that ski resort. The view of pine trees out our condo window captured my attention. Because we were driving by car, I had my painting materials along. The result, you see below. I frequently sketch while traveling. I sometimes refine these sketches into more "polished" watercolors and paintings, but sometimes not.
WINTER PARK: Acrylic on canvas. 20 by 24 inches. Framed. This is one of my favorite paintings, one of my best works. The price reflects that feeling on my part. While I confess that some of my paintings owe too much to Roy Lichtenstein, I took two giant steps away from him here--although his influence still can be seen in the dark lines defining the trees. This probably would make a great poster for Winter Park Resort, or anybody else in the ski business. $750
WINTER PARK: PRELIMINARY: Acrylic on canvas board. 20 by 24 inches. Unframed. I didn't do the first painting of Winter Park while staying there. That took more time than I had while at the resort. This was the painting that preceded it, done looking out our condo window. It's certainly more traditional in style, more impressionistic, and some people might like it better than the finished version. Plus the price is right. $125
Please note: Because I photographed the following watercolors through glass, the images below do not accurately reflect how the art looks. For one thing, they are much darker than the actual art, because of reflection off the glass. I plan to obtain better reproductions for reposting soon. If you are interested in any of these watercolors, please contact me.
CAHERSIVEEN: Ink and watercolor. 15.5 inches by 10.5 inches. Framed with glass. I don't do watercolors that often, but this is one of three I completed following a trip to Ireland. (One painting of Galway Bay already has sold.) The two remaining paintings currently hang in our kitchen. The green frames compliment well our yellow walls. $175
THE BURREN: Ink and watercolor. 15 inches by 12 inches. Framed with glass. The second of the Irish pair. The landscapes in Ireland are magnificently green. I wish I had more time to paint them. I was there with a tour group and had to sketch rapidly to finish my drawings before the bus was ready to leave. (Sometimes this is good for an artist.) Both Irish paintings were done as black and white sketches, then converted to color when I got home. I still have the b&w sketches if anyone is interested. SOLD
BEACH SCENE: ST. LUCIA, 1: Ink and watercolor. 17 inches by 13 inches. Framed with glass. I also brought my sketch book with me to St. Lucia, when we visited that island several years ago. I might have redone this as a watercolor or acrylic painting, but sometimes as an artist you can go too far. I made this my final statement, Regis. See also the companion drawing below. $125; both $250
BEACH SCENE: ST. LUCIA, 2: Ink and watercolor. About 12 inches by 18 inches. Framed with glass. This sketch hangs, appropriately enough, in our condo in Ponte Vedra Beach, so I can't give you the exact dimensions. Same beach; same day; different palm tree; vertical rather than horizontal. These two drawings work well together, or separately. $175; both $250