This is titled such because my intention was to pay homage to the late 20th century (early 21st century) Maine landscape painter, Thomas Crotty, who I never met but whose work I saw in a retrospective at the Portland Museum of Art several years ago. His landscapes were often large scale, and this one is only 12x12, but is reminiscent of the colors he'd use frequently in his snowscapes. I wanted to capture the harmonious tones of the grays, greens, and whites, and the contrasting warmth of the reeds and bark. This is modeled, as well, on a witch hazel tree on my land and the way the sucker shoots contribute such interesting line patterns.
It's painted in oil on a Richeson panel, sealed in Gamvar, signed on the back (my insignia in the lower right corner). It's framed in a dark walnut frame. Contact me if you'd like an image of the work framed. It ships with a Certificate of Authenticity.
This is titled such because my intention was to pay homage to the late 20th century (early 21st century) Maine landscape painter, Thomas Crotty, who I never met but whose work I saw in a retrospective at the Portland Museum of Art several years ago. His landscapes were often large scale, and this one is only 12x12, but is reminiscent of the colors he'd use frequently in his snowscapes. I wanted to capture the harmonious tones of the grays, greens, and whites, and the contrasting warmth of the reeds and bark. This is modeled, as well, on a witch hazel tree on my land and the way the sucker shoots contribute such interesting line patterns.
It's painted in oil on a Richeson panel, sealed in Gamvar, signed on the back (my insignia in the lower right corner). It's framed in a dark walnut frame. Contact me if you'd like an image of the work framed. It ships with a Certificate of Authenticity.