In just its third year, this event in San Angelo, in Texas Hill Country, is drawing raves from the top names in plein air painting.

Kunstmuseum Lucerne Hans Emmenegger was a Swiss painter who was born in 1866. Hans Emmenegger has had several gallery and museum exhibitions, including at the Museum of Art Lucerne and at the Kunstmuseum Liechtenstein.

Mark Tennant received a B.F.A. from the Maryland Institute College of Art, in Baltimore, and an M.F.A. from the New York Academy of Art, in New York City. For the years 2008 and 2009, he was the Director of Graduate Fine Art Painting at Academy of Art University, in San Francisco, where he had been

Jon Redmond

2011 "Light and darkness, the accurate and the interpreted, the objective and the subjective, the pragmatic and the visionary are inseparably connected and mutually necessary to give meaning to each other. Questioning, understanding, organizing and effectively communicating our perceptions and notions about the important facets of our experiences are what give art its real expressive power. Nowhere else is this more important than in landscape painting . . ." from "The Land's Hidden Poetry" by Douglas Fryer, January issue of Artists on Art Magazine http://artists-on-art.com/ http://www.youtube.com/artistsonart https://www.facebook.com/ArtistsOnArtMagazine Marshlands in Winter, 12" x 12" October Fields - Fairview, 15" x 15" Hay Barn on Canyon Road, 9" x 9" First Snow, Melting, 24" x 24" Midsummer Greens 12" x 28" Fairview Farm, Towhead Mountain, 18"x 30" Morning Light - Wasatch Plateau, 42" x 80" October, 12" x 12" Morning, 12" x 30" Fence Line on a Winter's Field, 9" x 9" Early Light, 4" x 9" After the Storm, 30" x 30" Breezy Summer Day, 4" x 9" Canyon Farm - February, 18" x 48" A Silver Morning, 12" x 12" A Forgotten Farm, 7" x 9" Resting Model, 5.5" x 5.5" Mrs. Holtan, 24" x 16" Winter Veils, 40" x 50" Forgotten Land, 20" x 50" North Side, 24" x 24" Everitt Farm, 12" x 28" Farm Buildings - Cache Valley, 7" x 7" Green Pastures, 15" x 15" Overlook, 20" x 20" South Fields Below White Peak, 12.5" x 33" A Distant View, 33" x 33" A Sultry Afternoon, 8" x 16" Alfalfa Fields, 16" x 36" August Evening, 9" x 12" Closing of the Day, 22" x 30" East Pasture, 16" x 36" Highway Ranch, 20" x 20" Farm Near Hilltop, 12" x 28" Thawing Creek - March, 7" x 16" Hayfield North of Chester, 12" x 28" In Winter Pasture, 7" x 12" Pennsylvania Farm, 12" x 28" Rain Across the North Valley, 7" x 7" Spring Thaw, 24" x 24" Summer Grasses, 33" x 33" 2010 Summer, 16" x 36" Last Light, 20" x 28" Hillside Farm - Virginia, 15" x 15" Morning - Shenandoah Valley Farm, 13.5" x 22" February, 9" x 9" Winter's End, 6" x 6" Meadow, 5" x 10" South Fields - February, 12" x 28" Standing Model, 9" x 7" Figure, 9" x 7" Shenandoah River Valley Farmland, 12" x 28" Roan Mare - January, 15" x 30" Autumn Evening, 18 " x 30" Gray Mare, 9" x 12" American Farm, 24" x 20" Near Indianola, 12" x 27" Horse Ranch, 14" x 18" Under Summer Skies, 18" x 48" Blueberries, 7" x 9" Anjou Pears, 7" x 9" August, 5" x 7" Broken Fence Lines, 9" x 18" Evening Shadows - Summer, 9" x 9" Heber Valley, 24" x 24" In Good Pasture, 9.25" x 7.25" Last Snow, 18" x 30" March, 15" x 15" Mickel Sheep, 18" x 18" Pasture in the Northern Hills, 7" x 14" Pioneer Farmhouse, 18" x 36" Summer Breeze, 4" x 9" Snow on Hayfields - Late November, 9" x 9" Summer Grass - September, 9" x 18" Vermillion Cliffs, 50" x 60" Virginia Farm, 12" x 12" Warm Evening - Vermont, 15" x 15" Winter in the Valley, 12" x 12" Winter Pasture, 12" x 27" Figure with Red Shawl, 16" x 10" 2009 Cottonwoods and Russian Olives, 11" x 14" Sorensen Field at Dusk, 24" x 24" Desert Yearling, 9" x 12" Early October, 10" x 16" Fairview Fields, 24" x 36" Farm Cat - Chester, 18" x 30" Farm North of Mount Pleasant, 10" x 10" Farm on Thistle Creek, 18" x 14" Model in Red, 6" x 6" North Light, 8" x 6" Seated Model, 5.5" x 5.5" Farmhouse in the Trees, 12" x 16" Golden Fields Fairview, 40" x 50" Good Land, 14" x 11" Heber Valley, 11" x 18" Horse Tracks, November, 10" x 20" Late September, 10" x 16" Milburn in Early Spring, 18" x 18" Morning Snow, 10" x 12" North County Barnyard, 12" x 18" Pioneer Home, Spring City, 6" x 6" Rocky Mountain Dairy Farm, 18" x 30" Sevier River Valley, 11" x 14" Sheep Herd - Fairview, 20" x 20" Sheep Herd - Fountain Green, 14" x 28" Sonora Sunlight, 8" x 11" Sorensen Hayfield, 18" x 18" Summer Rain Shower, 10" x 17" Sunlight on Metal Roofs, 6" x 6" Twilight, 16" x 16" "Sunrise over Fairview Canyon" "The Last Stroke" 2008 Distant Rain, 30" x 30" Farmland Near Joseph, 24" x 30" Hilltop, 12" x 12" Late Summer Pasture, 20" x 20" Morning Light - Wasatch Plateau, 42" x 80" Storm Front North of Kanab, 20" x 20" August Shadows, 24" x 24 Bend in the Sevier River - December, 24" x 36" Breaking Daylight, 13.5" x 27" Farm in the North Valley, 5.5" x 9" Farm Near Richfield - December Morning, 18" x 18" Farmland Near Panguitch, 30" x 40" Farmland South of Fountain Green, 30" x 30" Francis Black Barn, 24" x 24" Francis Black Barn - Summer, 12" x 12" Fryer Home - Late Spring, 18" x 18" Haystack - Highway 89, 24" x 48" Hilltop, 12" x 15" June Roses - Early Morning, 18" x 18" June Morning - Spring City, 7" x 14" The Red Shawl, 6" x 8" Seated Model - Summer Afternoon, 7.5" x 7.5" Model By the Window, 9" x 12" Karli, 12" x 12" Kane County Orchard, 12" x 18" Looking Toward Mt. Pleasant, 20" x 24" Looking Through to Goss Property, 6" x 8" North County Pasture, 18" x 30" North Pasture, 18" x 36" Old Horse Corral - Spring City, 12" x 12" Rain Settling on the Sanpete Valley, 30" x 40" Rain Shower South of Fairview, 24" x 24" Sheep Herd - Fountain Green, 11" x 17" Sheep Hay, 12" x 16" Snow Across the Sevier River Valley, 42" x 80" Snow Beyond the Cedars, 19" x 30" Spring City Barnyard, 18" x 36" Sunrise Over Fairview Farm, 20" x 20" Winter Hay - Banjamin, 20" x 28" Winter Sunrise - Sevier County, 18" x 18" 2007 Calavaras County Farm, 12" x 12" Dairy Farm North of Chelsea, 24" x 60" Seated Model - Karli, 17" x 10" Studio Model - Karli at 5 Months, 15.5" x 9.5" Spring City Morning, 12" x 12" Upper Provo River, 12" x 12" East-Side Barnyard, 20" x 24" First Light - Spring City Canyon, 10" x 18" Fryer Home, 18" x 36" Hayfield - Highway 117, 10" x 10" Sheep Herd at the Hollow, 18" x 16" Late Spring, 20" x 24" Mt. Pleasant Farm - Highway 89, 12" x 12" Ranch Bridge Near Birdseye, 10" x 20" Sheep Country, 15" x 30" Silver Morning, 11" x 11" Snow Falling at Pigeon Hollow, 18" x 20" Sorensen Fields, 19" x 30" Summer Rain, 12" x 24" Summer Sky, 15" x 30" Watering the Land, 20" x 36" Milburn Thaw, 24" x 40" 2006 August Morning, 18" x 18" Oat Hay - Watsons, 20" x 20" Second Cutting, 24" x 48" Watson Hay Barn - November, 18.5" x 30" Black Mountain, 24" x 60" Dewey Farm, 12" x 24" Evening in the Cedars, 16" x 18" July Rain - Heber Valley, 15" x 30" Pasture's Edge, 18.5" x 30" Payson Farmland, 16" x 18" Spring Burning, 18" x 18" Spring City Hay Barn, 15" x 30" Storm to the South, 24" x 60" West Fields at Sunset, 18.5" x 30" Sorensen Fields, 12" x 24" The Gate, 33"x 36"

pmikos: “ “Spring Landscape,” Arthur Wesley Dow, 1892, oil on canvas, University of Michigan Museum of Art. ”

Minimalistic and realistic, a look at Mark Tennant Prepare to be amazed, the paintings of New York-based artist Mark Tennant are some of the most

George Shaw’s eerie semi-realist paintings of the council estate on the edge of Coventry where he grew up

Railway Impressions - from the Railway Journal - Diploma {gallery}tworczosc/Malarstwo_ImpresjeKolejowe{/gallery}

20" x 25" Isaac Ilich Levitan Field After Harvest removable and repositionable peel and stick wall decal produced to meet museum quality standards. We present a comprehensive collection of exceptional wall decal reproductions by Isaac Ilich Levitan . Our wall decal stickers are produced using high-precision print technology for a more accurate reproduction printed with fade-resistant, archival inks, printed on high quality water-resistant satin cloth fabric backed with a repositionable, removable adhesive designed for easy, no hassle application to a wide variety of flat surfaces. Lightweight, easy-to-hang, no preparation needed, just peel off backing paper and stick on a flat surface; a great frame free alternative for exhibiting art prints. Lightweight, easy-to-hang, no preparation needed, just peel off backing paper and stick on a flat surface; a great frame free alternative for exhibiting art prints Material is a wrinkle-resistant, tear-resistant, water-resistant fabric, not water proof, intended for indoor use Made in the USA, at our Florida production facility, shipped unframed and rolled in a protective shipping tube.

Jules Breton. Detail from The Weeders, 19th Century.

Isabel Emrich’s oil paintings use energetic brushstrokes to beautifully capture the motion, texture, and swirling colors found underwater.

Here are few plein air paintings from the last week in New York. I was staying in Tribeca and painted a bit in the neighborhood. It was pretty quiet downtown for the July 4th weekend, and the city had…

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1825 Self Portrait Oil on canvas 32.5 x 24.5 cm Musée du Louvre, Paris Jean-Baptiste-Camille Corot (1796 – 1875) was a French landscape and portrait painter, as well as printmaker. He is regarded as a pivotal figure in landscape painting; his vast output simultaneously referencing the Neo-Classical tradition and anticipating the ‘plein-air’ innovations of Impressionism. Better known today as Camille Corot, he was born in Paris in 1796, the son of a cloth merchant and a milliner. After an education at the Collège de Rouen and two abortive apprenticeships with drapers, he was given the financial freedom at the age of 26 to devote himself to painting. In 1825 to 1828 Corot made the trip to Italy considered so essential to the formation of a landscape artist, spending time in Rome and the Campagna, before travelling to Naples. In 1827 he sent his first paintings to the Paris Salon: View at Narni and The Roman Campagna. 1826-27 View at Narni Oil on canvas National Gallery of Canada, Ottawa 1826-27c The Roman Campagna (La Cervara) Oil on canvas Kunsthaus Zürich, Switzerland He returned to Italy in 1834 and 1843. He also travelled extensively in France, to Normandy, Provence, and the Morvan region of Burgundy, to which he returned for many years, and to North-East France in 1871 during the Commune. In 1854 he travelled to Holland and Belgium; he regularly visited Switzerland, and was in London in 1862. During these trips Corot painted in the open air and filled numerous notebooks with drawings. His early oil sketches were clearly defined and fresh, using bright colours in fluid strokes. During the winter months he worked in the studio on ambitious mythological and religious landscapes destined for the salon. Hagar in the Wilderness, exhibited at the salon of 1835, is characteristic of his early work, and like his open-air studies, features the clear-cut forms and colours of academic painting. 1835 Hagar in the Wilderness Oil on canvas 180.3 x 270.5 cm Metropolitan Museum of Art, New York City His reputation was established by the 1850s, which was also the period when his style became softer and his colours more restricted. Topographical detail was suppressed in favour of mood and atmosphere, above all in his ‘souvenirs’ which were based on memories of real landscapes. 1860-61 Souvenir de Pierrefonds Oil on canvas 46 x 38 cm The Pushkin State Museum of Fine Arts, Moscow The popularity of these combined with Corot’s encouragement of younger artists to copy his pictures (which he then signed), either as a learning exercise or for producing works for sale, resulted in numerous forgeries and imitations, as well as difficulties of attribution. At the Exposition Universelle of 1855 Corot showed six paintings and won a gold medal. His influence on later C19th landscape painting, including the Impressionists, was immense. For a long time however, especially among collectors, the popularity of his late work overshadowed appreciation of his early studies. Camille Corot died in 1875. Biographical notes adapted from The National Gallery, London, and Wikipedia. This is part 1 of a 16-part series on the works of Camille Corot: 1822 Bois Guillaumi, near Rouen A Gate Flanked by Two Posts Oil on canvas Galleria Internazionale d'Arte Moderna, Ca'Pesaro, Italy 1822 Dieppe, End of a Pier and the Sea Oil on canvas Musée Royaux des Beaux-Arts, Brussels, Belgium 1822 Fontainebleau, Storm over the Plains Oil on paper Musée Cantonal des Beaux-Arts, Lausanne, Switzerland 1822 Landscape inspired by the View of Frascati Oil on canvas 127 x 171 cm Musée du Louvre, Paris 1822 Moret sur Loing, the Bridge and the Church Oil on canvas 30.5 x 39.5 cm Private Collection 1822-24c Fontainebleau, the Road to Chailly Oil on board 26 x 32.5 cm Private Collection 1823-24c A Farm Building at Bois-Guillaume near Rouen Oil on panel 25.3 x 33 cm Norton Simon Museum, Pasadena, CA 1823-24c Fontainebleau Oil on board Private Collection 1823-24c Fontainebleau, en Forêt Oil on paper mounted on canvas 21 x 29.2 cm Bristol Museum and Art Gallery, UK 1823c Banks of the Stream near the Corot Property, Ville d'Avray Oil on paper mounted on wood 21.9 x 23.5 cm Metropolitan Museum of Art, New York City 1823c Le Petit Chaville, near Ville-d'Avray Oil on canvas The Ashmolean Museum of Art and Archaeology, Oxford, UK 1823c Shipyard in Honfleur Oil on paper 43.8 x 29.5 cm Private Collection 1824-25c Honfleur, The Old Wharf Oil on canvas Rhode Island School of Design Museum of Art, Providence RI 1824-26 Le Vieux Pont St Michel Oil on canvas 25 x 30 cm Oise Museum, Beauvais, France 1825 Between Lake Geneva and the Alps Oil on canvas Private Collection 1825 Italian Peasant Boy Oil on canvas National Gallery of Art, Washington, DC 1825 Landscape Oil on canvas 41 x 32.7 cm Philadelphia Museum of Art, PA 1825 The Colosseum, seen through the Arcades of the Basilica of Constantine Oil on paper 23 x 35 cm Musée du Louvre, Paris 1825-27c The Tiber River Hemmed in by the Collines Oil on canvas Private Collection 1825-28 Civita Castellana, Rocks with Trees Oil on paper mounted on board Private Collection 1825-28 Italian Sitting, Leaning on her Knee Oil on canvas 27 x 22 cm Louvre, Paris 1825-28c Italian Landscape Oil on paper mounted on canvas 12.7 x 27 cm Metropolitan Museum of Art, New York City 1825-30c The Inn at Montigny les Cormeilles Oil Davis Museum and Cultural Center, Wellesley, MA 1825c Ville-d'Avray: Entrance to the Wood Oil on canvas 46 x 35 cm Scottish National Gallery, Edinburgh, UK 1826 Cascade of Terni Oil on canvas 36 x 32 cm Private Collection 1826 Civita Castellana and Mount Soracte Oil on paper 36 x 27 cm Musee d'Art et d'Histoire, Geneva 1826 La Monta Soracte Oil on paper mounted on canvas Private Collection 1826 Old Man Seated on Corot's Trunk Oil on canvas 1826 On the Banks of the Tiber Oil on canvas Private Collection 1826 Papigno, Buildings Overlooking the Valley Oil on canvas Private Collection 1826 Rocks at Civita Castellana Oil on canvas 32 x 44 cm Private Collection 1826 Rome, View from the Farnese Gardens, Noon Oil on paper mounted on canvas 30 x 49 cm Musée du Louvre, Paris 1826 Temple of Minerva Medica Oil on canvas 21 x 27 cm Musee des Beaux-Arts, Angers, France 1826 The Bridge at Narni Oil on paper mounted on canvas 34 x 48 cm Musée du Louvre, Paris 1826 The Forum seen from the Farnese Gardens, Rome Oil on canvas 28 x 50 cm Musée du Louvre, Paris 1826 The Lake of Piediluco, Umbria Oil on canvas 22 x 41 cm The Ashmolean Museum of Art and Archaeology, Oxford, UK 1826 View from the Farnese Gardens, Rome Oil on canvas 25.1 x 40.6 cm Philips Collection, Washington DC 1826 View of Rome from Monte Pincio Oil on paper mounted on canvas 24.4 x 42.2 cm Minneapolis Institute of Arts. Minnesota 1826 View of the Convent of Sant'Onofrio on the Janiculum, Rome Oil on paper marouflé to canvas 22 x 33 cm The Fitzwilliam Museum, Cambridge, UK 1826 Waterfall at Terni Oil on paper mounted on wood 26.7 x 30.8 cm Metropolitan Museum of Art, New York City 1826-18 Ponte Nomentano Oil on canvas Museum Boijmans van Beuningen, Rotterdam

Isaac Ilyich Levitan "River"

Josep Maria Mallol Suazo. Spanish (1910 - 1986)

Painter George Shaw – a nominee for the 2011 Turner Prize – has returned to his hometown Coventry, which has been a main source of inspiration for his art. The Herbert Art Gallery and Museum will host a major retrospective of his work until 11 March, 2012.