Archives for Landscape

Talent Knows No Age

Talent Knows No Age

July 1, 2021 | by

In 2004, after 30 years in the car business, John Marzolf sold his three dealerships and retired. Two years later, however, he was bored and looking for something to do. “I loved art, and I collected art,” he says, “so I decided to buy and sell art.” While visiting the Biltmore Galleries in Scottsdale, Arizona, Marzolf purchased a Frank Tenney Johnson painting for $275,000 and met the gallery’s owner, Steve Rose. “I liked Rose,” Marzolf says, adding that three times he asked Rose to sell the gallery to him. “The fourth time I said, ‘Why don’t you sell it to
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In Search of a Vanishing America

In Search of a Vanishing America

July 1, 2021 | by

“I paint, and I ride my bike,” says watercolorist Robert McFarland. “That’s pretty much my life.” Those two pursuits might sound like opposites, but McFarland has found that they complement each other nicely. “If I’m on a bike ride, I’m always looking around for a subject,” he says. “If I go by something, it sounds weird but the subject will kind of speak to me.” During his thirty-plus year career, the subjects that have most often caught McFarland’s eye are what he calls “scenes of vanishing America.” His luminous depictions of forgotten landscapes, decaying buildings, and abandoned houses have been
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The Studio of Robert Moore

The Studio of Robert Moore

July 1, 2021 | by

When Robert Moore tells you he’s headed to his studio, erase all ideas you might have of an artist painting in a small, dark room in a cold, brick building. Moore’s studio is the first thing you see when you head into town, past the ‘welcome’ sign. It’s a massive, 10,000-square-foot warehouse, right in the center of downtown Declo, Idaho—population 526. “I painted in barns, garages, and churches before it,” says the 63-year-old impressionist. “There’s something special about this location.” Read the full article in the July/August 2021 issue.   Well With My Soul Oil 70” by 96” Winter Oil
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A Life Fully Lived

A Life Fully Lived

May 1, 2021 | by

P.A. (Peter) Nisbet’s dramatic landscape compositions go beyond mere pictorial renderings to draw viewers in and challenge them to find meaning within their beauty. Each painting represents an individual journey of discovery made by the artist himself. The recording of these personal experiences has become the hallmark of every Nisbet painting; rarely has he depicted a location he has not visited in person. When he puts brush to canvas, what he is sharing is a visual record of his experiences, enriched by sensory perceptions such as the feel of the wind, the sound of a stream, or the fragrance of
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‘I Can’t Turn it Off’

‘I Can’t Turn it Off’

May 1, 2021 | by

For a long time, Bruce Cheever was best known as a landscape painter. His atmospheric, often nostalgic scenes had earned awards, recognition, and a solid following of collectors. Those landscapes are still his recognizable pieces—and landscapes are still his favorite subject to paint. During the past several years, however, he’s been steadfastly broadening his universe to include still lifes, figures, wildlife, and more. “My goal is to be able to sit down and paint any subject with equal confidence,” Cheever says. “I’ve tried to push my boundaries out further so that I feel comfortable tackling any subject. I wanted to
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‘I Found My Passion’

‘I Found My Passion’

May 1, 2021 | by

In September, Sheri Farabaugh hopes to board a plane headed to Russia, where she will join a group of artists who will spend two weeks painting with Eric Rhoads, a plein air painter and publisher of PleinAir magazine. They will visit galleries and art institutes in St. Petersburg, several villages where the Russian Masters painted, and Moscow. Farabaugh hopes that trip will help her to become more proficient at plein air painting. She is brutally honest about her capabilities in that area, saying, “I’m a horrible plein air painter; I’m trying to figure out why that is. Narrowing down my
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Order and Chaos

Order and Chaos

May 1, 2021 | by

If you want to know about Brett Scheifflee’s artistic philosophy, talk to him about tennis. “If you are trying to control everything too much, you’ll never get your best form,” says Scheifflee, who’s been working to improve his tennis game for just about as long as he’s been painting professionally. “That’s something I can reference with painting. If you hang onto it too tight, it’s never going to be perfect. The only way to achieve perfection—or something close to it—is to let go. Stop trying. Open yourself up and be free, and somewhere in there you’re going to find the
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Endless Inspiration

Endless Inspiration

March 1, 2021 | by

Denise LaRue Mahlke doesn’t have to go far to find inspiration for her paintings. She simply has to step outside and look up—or out. “I find great inspiration in the beauty of big, cloud-filled skies and wide-open places, but I am also drawn to quiet, intimate scenes that require a closer look,” she says. “Subtleties in nature excite me, particularly the exquisite light and atmosphere found early or late in the day.” Mahlke paints the beauty she sees in and around her home in Whitehouse, Texas, as well as other places in the West, using pastels as she does so.
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A New Direction

A New Direction

March 1, 2021 | by

During the past decade, R. Tom Gilleon’s career has skyrocketed, earning him tremendous recognition and rewards. But now, at age 79, he’s most excited about projects that are taking him in a new direction—what he calls his “2020 Vision”—and that might well be the most daunting challenge he’s ever undertaken. It’s a new phase of his artistic life from which paintings that he describes as “MMXX Masterworks” are emerging. Gilleon is best known for his iconic paintings of tipis and Native American images. His background in illustration, his sensitivity to nature, and his respect for the Old West unite in
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Untold Stories

Untold Stories

March 1, 2021 | by

If you look for dogs in most traditional Western art, you tend to find them in the lower left-hand quadrant. They’re sitting at the feet of a cowboy in front of a roaring campfire, or they’re poised just out of kicking range of a horse at the center of the canvas. Their eyes tend to be looking at the focal point of the painting—a human being, a larger animal, an important event they’re witnessing. Their eyes tell the viewer where to look. They’re serving in their traditional role as man’s best friend. Man remains at the center. Not so with
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