Peter Sculthorpe

"East of Smith Bridge"

Intimate landscape oil on panel by American Realist painting Peter Sculthorpe. Framed dimensions 11 x 11 inches.

Signed LL & on Verso: Signed, Dated, Attributed Peter Sculthorpe was born in Ontario, Canada, in 1948 of dual US-Canadian citizenship. His talent was evident even as a child and at age 12 he first studied art with his uncle, Gordon Peters, a renowned Canadian painter. Sculthorpe's Father, an insurance executive was transferred from Toronto to Philadelphia in1962 and it was while in high school that he developed rapidly, was recognixed by a local artist - watercolorist Philip Jamison...

American, b. 1949 In his more than three decades as an artist, Nicholas Berger (b. 1949) has created an outstanding body of work that continues to evolve and excite viewers. Best kn...

Signed Lower Left Poskas was born in Waterbury, Connecticut, a small industrial city set on the banks of the Naugatuck River. He was interested in art as a child, but on entering ...

A fine depiction of a winter season in Slate Hill New York. For this wonderful composition, Nemethy uses a fine technique which depicts the snow filled landscape with joyful colors c...

Unframed Dimensions: 24 x 45 inches Framed Dimensions: 29 x 51 inches In his more than three decades as an artist, Nicholas Berger (b. 1949) has created an outstanding body of work ...

"The Long Road" realist painting by John Whalley. Egg tempera on masonite. Signed lower right. Unframed. Late 20th century. Biography from the Archives ...

"The Long Road" realist painting by John Whalley. Egg tempera on masonite. Signed lower right. Unframed. Late 20th century. Biography from the Archives ...

I have been burning images into wood and paper as a means of drawing for over two decades. During that time I have continued to refine and at the same time experiment with the process. Using propane torches I burn, scorch, re-burn, sand and scratch the surface of paper or wood to create my drawings. My earlier work, the Nocturne Series was inspired by walking at night in the light filled streets of American cities; those drawings were often mistaken for soft focus sepia toned photographs. My present work is a considerable departure in regard to content, execution and appearance - from those dark, abstracted cityscapes, my current drawings are light filled, clearly rendered landscapes. The burning process I use to make my drawings evolved differently for each series. Experimentation (in both bodies of work) is always important to me and always informs the resulting image. In the case of the Nocturnes the image arose from intermixing water with the flame from a large industrial torch. With these new works, I’ve tried to create a visually stimulating accumulation of (often minuscule) marks on the wood surface using the tiny flame from a jeweler’s torch...

I have been burning images into wood and paper as a means of drawing for over two decades. During that time I have continued to refine and at the same time experiment with the process. Using propane torches I burn, scorch, re-burn, sand and scratch the surface of paper or wood to create my drawings. My earlier work, the Nocturne Series was inspired by walking at night in the light filled streets of American cities; those drawings were often mistaken for soft focus sepia toned photographs. My present work is a considerable departure in regard to content, execution and appearance - from those dark, abstracted cityscapes, my current drawings are light filled, clearly rendered landscapes. The burning process I use to make my drawings evolved differently for each series. Experimentation (in both bodies of work) is always important to me and always informs the resulting image. In the case of the Nocturnes the image arose from intermixing water with the flame from a large industrial torch. With these new works, I’ve tried to create a visually stimulating accumulation of (often minuscule) marks on the wood surface using the tiny flame from a jeweler’s torch...