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About Me

I came to this country in the mid 1970s and studied at the Art Student League close to 10 years. I was introduced to the techniques of the old masters by Frank Mason and studied drawing with Robert Beverly Hale. Later on, with Richard Poussette-Dart, I was introduced to Abstract Expressionism, where I began searching for my inner vision.In the mid eighties I also studied photography at the International Center for Photography for a couple of years. Living in New York City at the time, I bridged my learning of Abstract Expressionism, old masters techniques, and photography to experiment with oils, acrylics, and photo-transfers in large abstract work often depicting landscapes. 

When I moved to Washington County, New York in 2000, I felt an overwhelming desire to go back to a more descriptive form of expression by studying nature again and finding a way to translate my understanding of its harmonies. I took my French easel back into the fields and let nature guide my brushes. To my surprise I found myself freed from the conventional formulas that had made me escape into abstract expressionism. Those 14 years of experimentation with abstractions paid off. 

My large work can take between 3 days to 2 years to execute whether they are painted on paper or on linen. Often I paint on paper to test the subject I have in mind. Therefore the work on paper is a lot looser and sketchy. If I like the results I will rework the idea on stretched linen. My goal is not to show off how well I can render a subject/object. Instead, the inspiration of the scene added to the touch of the brush and pigments are set free to take control of the work. I am often surprised by what results... I never correct a field study. I do not want perfection to matter over interesting accidents. 

These works are inspired by field studies done in Washington County, NY and VT in the USA and Poitou -Charente, France.This last 2 years I have decided to exhibit my field studies ( Plein Air).


Bio Française

Après une formation approfondie dans l’étude des techniques des Vieux Maîtres,

j’ai abandonné le réalisme pour étudier la peinture abstraite et

l’évolution de l’Art Pictural.

Au bout d’une quinzaine d’années de pratique dans l’abstraction, je suis revenue

à un réalisme classique mais épuré, influencée par les courants

actuels, tout en employant toujours les techniques des Vieux Maîtres.

Je prépare mes fonds et mes mediums selon des formules anciennes..

Je prépare mes médiums selon une formule transmise par Frank Mason,

qui toute sa vie a cherché le secret des médiums de Rubens..

ma palette est celle du peintre américain impressioniste Frank Vincent Dumond

qui l’a transmise à mon professeur Frank Mason..

Mes études / sketchs / pochades, en plein air, sont fidèles aux couleurs des très beaux paysages de Washington County. NY. aux USA et aussi 

à ceux du Poitou, en France..

Puis, dans l’atelier, j’improvise.. je change souvent la composition du tableau, pour en extraire un concept visuel, tout en conservant une

référence constante au réalisme. Mais surtout, je tends à abandonner détails et maniérismes susceptibles d’anéantir le concept initial.

Mon vrai but est d’obtenir les surfaces pouvant révéler en profondeur le travail du peintre et sa pensée.





McDaris Fine Art, Hudson, NY.                                       2013, 2015, 2017    
Galerie Monica de Champfleury, Paris France.               2016

The Galleria Catskill, Catskill, NY.                                   2010

 Southern Vermont Art Center, Manchester, VT.             2009, 2007

Atmosphere, 8250 Melrose Av, Los Angeles, CA.         2008

 Bachelier-Kardonski Gallery, Kent, CT.                          2007,2006

Gallery 668, Battenville, NY.                                          2006,2004, 2003, 2002

Paris-New York-Kent Gallery, Kent, CT.                        2004, 2000    
Small Gallery, Artisans Market, Cambridge, NY           2004

Randall Tuttle Fine Art, Woodbury, CT                         1997    
 The Arsenal Gallery, Central Park, NYC, NY.              1994

Chiaroscuro Gallery, Chicago, IL                                  1991    
 The John Pence Gallery, San Francisco, CA              1984

The Gallery of the Southwest, Taos, NM.                    1984    
The Moulton Gallery, Fort Smith, AR                           1984

The Harbor Gallery, Cold Spring Harbor, NY               1981

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I would return the money paid for any Original Paintings if you dislike it after you have received it. I will ask you to pay for the return postage though. The refunding will happen when I receive the painting back in good condition.

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Description from Merchant:

I like to paint in oil on stretched linen or prepared papers. For paper: I cover the paper with a coat of rabbit skin glue with dry pigments in it to make it impermeable to oil. I used Archival papers, Arches (hot pressed)300 or 150lb. En plein air I also use boards that I prime myself with a home made gesso (French chalk from Champagne with rabbit skin glue) but most often now I use paper (Arches). Successful sketches are glued on exterior birch plywood. I use Rabbit skin glue. For the stretched canvases, I prepare my own grounds. I order the stretchers from an Art supplier, Blick/Utrecht, I favor aluminum stretchers for large canvases since they are lighter than wood. The linen I favor is 74B. I prime the stretched linen with a chalk/oil gesso from a formula that was used by the old masters. It offers a wonderful surface that feels like ivory and makes the paint flows beautifully. However, that surface is delicate, therefore, I also often use an acrylic gesso ( Utrecht) that is a lot more flexible and less prone to cracks but requires a lot more build up, "work", unlike the gesso ground or the smooth paper surface. For my drawings I use Sennelier inks that I order from France. Black and also Broux de noix. for my "mixed media" work I use acrylics, Sennelier pastels and inks (and all sorts of other stuff I find in the studio) on hot press Arches papers.


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