EdwardJ.WhiteFineArt

 
 
 

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Edward White

EdwardJ.WhiteFineArt

Hartford, CT

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Open air painting and beyond
Ed White is a third generation Californian now transplanted to Connecticut. He has been painting the landscape on site since his early years at Lake Tahoe, California. His work has been exhibited and sold in California and Connecticut and is in numerous private collections.
Ed often works on location, and completion of these works usually demands a small size because of the changing light conditions. Refining the idea, and extrapolating to a better design concept, and a larger format, is always the challenge.

Ive discovered that many of my paintings preserve a location that has been later destroyed by development. For me, all of them preserve a lighting, time and mood. A successful painting both communicates some of what I feel and leaves room for the viewer to bring something to the work.
An element of the paintings that cannot be shown in reproductions of the work is the brushwork that creates the image. I love the close-up surface of the well-lighted painting. It is almost like a surface sculpture of color. Usually there are complexities within the strokes of colors and texture that are part of the experience of the painting and the observation.

Its hard to part with these paintings. You feel them. You remember the air, the breeze, the bugs, the ground - in some cases the numb fingers and the coffee.

My influences are too numerous to count. The California and New England art colony groups, the European and Russian impressionists, and the countless extraordinary current realist and impressionist artists. It is all a wonderful and humbling legacy. The study never ends.

Open air painting and beyond
Ed White is a third generation Californian now transplanted to Connecticut. He has been painting the landscape on site since his early years at Lake Tahoe, California. His work has been exhibited and sold in California and Connecticut and is in numerous private collections.
Ed often works on location, and completion of these works usually demands a small size because of the changing light conditions. Refining the idea, and extrapolating to a better design concept, and a larger format, is always the challenge.

Ive discovered that many of my paintings preserve a location that has been later destroyed by development. For me, all of them preserve a lighting, time and mood. A successful painting both communicates some of what I feel and leaves room for the viewer to bring something to the work.
An element of the paintings that cannot be shown in reproductions of the work is the brushwork that creates the image. I love the close-up surface of the well-lighted painting. It is almost like a surface sculpture of color. Usually there are complexities within the strokes of colors and texture that are part of the experience of the painting and the observation.

Its hard to part with these paintings. You feel them. You remember the air, the breeze, the bugs, the ground - in some cases the numb fingers and the coffee.

My influences are too numerous to count. The California and New England art colony groups, the European and Russian impressionists, and the countless extraordinary current realist and impressionist artists. It is all a wonderful and humbling legacy. The study never ends.