Lowlands #5

Title: Lowlands #5
LC Subject: Painting Landscape painting encaustic painting (technique) oil paintings (visual works) oil painting (technique) painting (image-making) paintings (visual works)
Creator: Adams, Victoria (Vicki Anne), 1950-
Description: This naturalistic landscape painting depicts a view of flatlands, a grove of deciduous trees fronted by a small pond, all under a colorful cloud-filled sky. The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Regional Arts & Culture. You may view their website at http://www.racc.org/
Location: Oregon Health and Science University >> Multnomah County >> Oregon >> United States Multnomah County >> Oregon >> United States
Street Address: 3181 S.W. Sam Jackson Park Road, Portland Oregon
Date: 1975/2012
Identifier: 1995_portland_ohsu_a-h_01_a01
Accession Number: 1995_portland_ohsu_a-h_01_a01
Rights: In Copyright
Dc Rights Holder: Adams, Victoria
Type: Image
Format: image/jpeg
Measurements: 24 x 24 inches
Material: Painting wax and oil on panel; encaustic painting
Set: Oregon Percent for Art
Primary Set: Oregon Percent for Art
Relation: 1995 Oregon Health Sciences University. Artists A-H, Portland Oregon 1995_portland_ohsu_a-h
Has Version: slide; color
Institution: Oregon Arts Commission University of Oregon
Note: Oregon Health & Science University (OHSU) was formed in 1974 as the University of Oregon Health Sciences Center. It was renamed Oregon Health Sciences University in 1981 and took its current name in 2001, as part of a merger with the Oregon Graduate Institute of Science and Technology in Beaverton.For a map of OHSU's Marquam Campus, see http://www.ohsu.edu/about/campusmap.application/pdf
Color Space: RGB
Biographical Information: Human beings have always had a persistent aesthetic interest in views of nature that draw the eye off into the distance. The ability to interpret landscape and the pleasures that attend such ability are both now endangered, however, as is the landscape which can produce that satisfaction. In my work, I seek to re-invoke the traditional role landscape painting played for society, which was to re-affirm the importance of the physical environment and to suggest a transcendent realm beyond nature. And yet to du so in the context of the late twentieth century requires new approaches to landscape painting. So I have appropriated some of the thinking and techniques of traditional landscape art and put them to new purposes. Mum Eastern art, I have claimed the notion that painted landscapes present necessary, spiritually restorative objects to the viewer when visits to actual nature are impossible. I have translated this chiefly Eastern purpose into a Western context by employing the color, light, and atmosphere used by nineteenth-century American Luminists and such seventeenth and nineteenth-century European painters as van Ruisdael, Constable and Turner. Using these formal elements, I invent landscapes that may serve as vehicles for lung, extended gazing. I enhance these elements by painting in encaustic, which employs waxes, resin and oils mixed with pigments and then fused in layers by applying heat, to produce a rich, luminous surface. The palette and light I employ front a former time in painting now carry different meanings. My images may he seen as requiems for a nature now past or passing. But they may simultaneously offer restorative symbols that urge action based on a re-evoked relationship between viewers and their landscape. (Adams August, 1994)