Ann Taylor "Landfall" Original Oil Painting on Canvas Blue Green Hills Landscape

Description

"Landfall"
framed
Original Oil Painting on Canvas
Stretched, Framed
Hand signed by the artist
Framed Size: 42-1/4" x 54-1/4"
Canvas … more "Landfall"
framed
Original Oil Painting on Canvas
Stretched, Framed
Hand signed by the artist
Framed Size: 42-1/4" x 54-1/4"
Canvas Size: 42" x 54"
Painted in the early 1980s
Condition of the Painting is Excellent. Frame is Good, with some minor wear.
Certificate of Authenticity & appraisal is included



ANN TAYLOR

American Contemporary Painter
"Luminous", "elegant", "unique .... these are words used often to describe the landscape paintings of Ann Taylor. She has the ability to capture the essence of earth and air. Her silvery skies are a symphony of light and her rich sienna earth tones, warm and inviting. Primarily a landscape painter, Taylor concentrates in her work upon the distillation of universality from specific landscape ideas. Her deft manipulation of color and light, combined with a suspension of spatial perspective, portray a comprehensive view of the natural world. The dominant feature of the paintings is a conceptual vastness and a technical delicacy which combine to link her work to that of Joseph Turner and Oriental artists, although the particularity of her vision makes the paintings uniquely her own.
Taylor began exhibiting professionally in 1964. Since that time, her paintings have been shown in galleries and museums throughout the United States. John Gruen stated, "Hazy, muted and quite beautiful are these landscapes." Jane Young continued, "There is an aura of spirituality in these paintings that stems from the austere simplicity of design, the subtlety of color, and most of all from the underlying intensity and single-mindedness of the artist's vision." Gordon Brown of Arts Magazine said, "One thinks of Ad Reinhart, to whom Taylor bears a certain resemblance with her mystical mood and monochromatic style." Donna Marxer of Arts Magazine concluded, "The complexity in Taylor's works is something that transcends the subtle palette and exquisite technique. It is an almost eerie sense of life and movement. The artist literally paints the very air."

Taylor's work emerges from the vastness of American wilderness. Never painting on location, she assimilates ideas, tones and patterns and returns to her studio to create her special vision of the land. By distilling the essentials from specific land formations, she gives each work a deliberate kind of universal significance. A formalist interested in the formation of line, color and structure, Taylor brings her viewers to a heightened awareness of these qualities under the guise of evocatively sophisticated landscapes.

Taylor's paintings are represented in New York by The Christopher Gallery, 766 Madison Avenue. Recently her work has been exhibited in a number of national and invitational exhibitions. Her paintings are included in a large number of private collections throughout the country. Among the museums and galleries which have shown or purchased her work are: The Gallery of Modern Art in New York; The Indianapolis Museum of Art; The Memorial Art Gallery and The Oxford Gallery in Rochester; The Miller Gallery in Cincinnati; The Janet Fleischer Gallery in Philadelphia; The Art Wagon Galleries in Scottsdale; The Hunter Gallery in Aspen; Gallery One in Petoskey; Arwin Galleries in Detroit; The Naples Art Gallery in Naples; and Mickelson Gallery in Washington.

Oil Painting Definition:
In its simplest form, oil paint is a mixture of three things: pigment, binder and thinner. Pigment is the color element, while the binder (the oil) is the liquid vehicle or carrier which holds the ground-up pigment to be applied to the canvas or whatever support is to be painted.

A thinner is usually added to the viscous pigment-oil mixture to make it easier to apply with a brush. Thus for example, one of the simplest oil paints might contain a mixture of red iron oxide (the pigment), linseed oil (the binder) and turpentine (the thinner). Oil paint may also contain a number of other additives, to promote drying, appearance and other actions.
Oil paint is a form of a slow-drying paint that consists of particles of pigment suspended in a drying oil that forms a tough, colored film on exposure to air.
The drying oil is a vegetable oil, often made by crushing nuts or seeds. For paints, linseed oil is most commonly used, but poppy, sunflower, safflower, soy bean and walnut oils can also been used. The advantage of the slow-drying quality of oil paint is that an artist can develop a painting gradually, making changes or corrections if necessary.
Oil paints blend well with each other, making subtle variations of color possible as well as more easily creating details of light and shadow. They can also be diluted with turpentine or other thinning agents. A heavily diluted layer dries relatively quickly, being tack-free in a few days. Thicker layers, containing more oil, take longer. Oil paint continues to dry, getting harder with age over many decades. Pigments and extenders will also affect the rate of drying, so different colors may dry at different speeds.
It was only during the 19th century that industrial manufacturers began to produce a proper range of fine art oil paints. Until then, artists made their own paints, which had to be produced fresh each day. Most Renaissance or Baroque painters, for instance, worked for several years as a pupil (apprentice) in the workshop (atelier) of a master artist, where they studied the skills of drawing (disegno), painting (colorito) and also how to make and mix paint. Knowledge of color pigments, their properties (hue, permanence, chroma, lightfastness, compatibility with other pigments, drying attributes), and how to make them into oil paint was an essential part of every painter's art training. Even the grinding of a pigment required skill as the particle-size needed to be fine and regular, and a small number of pigments can be damaged by incorrect grinding. In addition, it was important to know the correct binder-to-pigment proportions (which may vary from 10 percent or less, to as high as 150 percent), and also whether or not a particular pigment requires the addition of a siccative or extender before being ready for use. less