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14 x 11 Inches, Oil on Linen Panel
Julian Onderdonk, after the portrait by his instructor, William Merritt Chase. Julian went on to become the preeminent West Texas landscape painter. I struggled to express his sympathetic eyes. Onderdonk loved to paint bluebells and three of his paintings hung in the Bush 43 White House.
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10 x 8 Inches, Oil on Linen Panel
I find the Scottish clouds and grey skies are as fine as sunshine most anywhere else. Between Guardbridge and Cupar, just west of Saint Andrews is Saint Cloud, where Robert Burns was moved to recall:
Few happy hours poor mortals pass
then give those hours their due
and rank among the foremost class
our evenings at Saint Cloud.
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10 x 8 Inches, Oil on Linen Panel
It may be you will come again, before my hair is grey
As the sea is in the twilight of a weary winter's day.
When success is grown a burden, and your heart would fain be free,
Come back to Saint Andrews -- Saint Andrews and me.
The final verse of Come Back to Saint Andrews by R.F. Murray.
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I have found something in Rose Quinacridone, or it has found something in me. How it plays to ultramarine and to certain French yellows and how it insists so earnestly on joy. I'd not really thought to lend it to a landscape, to just let it go. But as I painted this I thought of fields. Of fields painted by Frost, of a one where Whitman to his father called. But when it was done, the field itself and all this color said it belongs to Rumi. And so, it does.
Out beyond ideas of wrongdoing and rightdoing, there is a field. I'll meet you there. When the soul lies down in that grass, the world is too full to talk about.
--Rumi
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10 x 8 Inches, Oil on Linen Panel
I painted this with imagined color. It's based on the only known photograph of American painter Max Bohm 1868 - 1923. The photographer is unknown. Bohm in his later years lived and worked in Bronxville, NY and summered in Provincetown, MA. My favorite of his paintings is this portrait of his wife, Zella Newcombe Bohm.
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10 x 10 Inches, Oil on Linen Panel
A small, rough knife and brush take on the self portrait by a young Eugene Delacroix. His attire feels ecclesiastical, which is fitting for a high priest of the French Romantic painters. Unlike most romantics, Delacroix was driven by a sense of individualism sans overt sentimentality. Baudelaire said "Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible." For Eugene, we enjoyed a La Chapelle Bordeaux, large helpings of Melody Gardot, Keren Ann, original Norah Jones and Amy Winehouse, finished with a Romeo & Julieta Montecristo white series. Sometimes painting is pretext for other pleasures.
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