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31. Simply Ravenous
Simply Ravenous
Description
An oil painting depicting a ravenous restaurant scene., Simply Ravenous; (32 x 76 inches); 1994; oil, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/
32. Fig. 180
Fig. 180
Description
This impressionistic painting depicts a person sitting with his/her elbow resting on his/her knee, which in turn, supports his/her head. The color palette used is mostly a warm one, with subtle accents of blue and purple., http://www.froelickgallery.com/Artist-Detail.cfm?ArtistsID=243, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/
33. Port of M. Munger
Port of M. Munger
Description
The painting presents what appears to be a view of a port establishment from the water, as if approaching from shore from a boat or ship. The color palette consists of muted neutral tones, grays, blacks, and whites, along with accents of red., http://artscenecal.com/ArtistsFiles/GrummT/TGrumm.html, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/
34. Untitled
Untitled
Description
This oil painting depicts an Oregon rain forest, which is largely coniferous, showing Douglas Fir, Western Red Cedar, West Coast Hemlock and Western Yew. The painting features loggers of the early 1900s walking out of the woods on an old skidrow. "These roads were built in the days of horse and oxen logging, constructed of small logs to ease the drag of the logs being pulled by the animals and to keep the logs from miring down in the mud. The tools being carried by the loggers are: Springboards; usually 2" x 8" -5' to 6' long, rounded at one end where a half-moon sharpened, knife-edged steel blade was attached to bite into solid wood in the notched tree trunk; they also carried crosscut saws, and bottles of kerosene used to free saws of pitch, sledges for driving wedges and a can of kerosene. The packs were used for lunched, extra wedges, miscellaneous tools, undercutters (for the buckers) drinking water, etc." (Background information provided by the Oregon State Library, see http://osulibrary.orst.edu/libraries_and_collections/art/info.html#Brauner), Ken Brauner was born in Corvallis, Oregon. A veteran of World War II, he returned to Oregon and worked in the timber industry for 30 years. His only formal art training was obtained at the University of Oregon, where he was a student for a few years after getting out of the Army infantry., http://www.kenbrauner.com/, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/
35. Stop, Look and Listen
Stop, Look and Listen
Description
This painting depicts what appear to be two female figures shrouded by the cloak of night on the beach. The figure on the left wears a red shirt and brown pants, while the figure on the right wears a yellow shirts and blue pants. The figure on the left stands upright with her left arm extended behind her, holding a shovel. Her other hand cups her ear, as if she were listening for something. The other figure bends low with a tool in her hands., Stop, Look and Listen; acrylic on canvas; (72 x 81 inches); unstretched; CaiS96042901, Sean Cain received a B.F.A. from the Pacific Northwest College of Art in 1994 after studying for two years at the School of the Art Institute of Chicago. He has shown in Oregon at the Laura Russo Gallery as well as the Art Gym, Maryhurst College, the Corvallis Art Center, and Artquake 1994, Portland. As a promising emerging artist, Sean Cain has caught the eye of the public and has warranted reviews in Willamette Week, Artweek, the Oregonian, and Reflex. He works in a classical tradition rendering the figure in statuesque poses depicted in rather stark light that allows for a beautiful chiaroscuro. Using the paint thinly, layering like washes, he paints colors which enhance the atmospheric other-worldliness of his work. Cain combines surrealism, humor, and a high level of craftsmanship to attain a compelling and heroic narrative. (Oregon Arts Commission), The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/
36. Untitled
Untitled
Description
An acrylic painting of canvas that is divided down the middle. The left side of the painting is primarily white, with eggs stacked in a glass, next to two green apples on a white marble-like table, against a white wall. The right side of the painting features thick vertical rectangles of the colors of gold, blue, and dark red., Untitled (interior with eggs and apples); acrylic on canvas; (47 x 51 inches); 1994; HalS98012104, The paintings of Sally Haley are much loved in the Northwest, partly at least because she often (but not always) has painted familiar domestic objects-bread, eggs, bottles, fruit, dishes, the simple, reassuring, eternal things. And she paints them with mastery so admirable that our response is a combination of delight and awe. They appear in a variety of settings and con-formations: a loaf of bread may almost fill its small canvas; a stemmed glass containing, quite surprisingly, five eggs, and standing alone, with mysterious iconic overtones, in a vast dark space; or a group assembled on a table in Haley's own subtle version of the still life. But there is a great deal more to her art than the masterly rendition of familiar objects. Many of her canvases, entirely bare of objects, are seen from, as one might say, a much wider angle; they are interiors divided into austere geometric shapes which suggest corridors, walls, windows, doors. This artist is certainly drawn by the basic architectural features of interiors, and to their meanings: the universal vertical and horizontal planes of wall and floor, the advance of corridors, the promise of doorways, the rectangles of sky disclosed by windows. She makes her own perspective, often puzzling, sometimes disquieting. In most of her painting there is…a sense of something, withheld or barely suggested, of questions unanswered, though: everything in the painting exists under the most unequivocally revealing light. Yet the surreal hovers near, is waiting in the wings, so to speak, and is sometimes evoked. At any rate, on feels , http://www.laurarusso.com/artists/haley.html, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/
37. Parrot Tulips II
Parrot Tulips II
Description
A watercolor painting of a flower still life on top and in front of a white sheet. The blue/green glass vase contains multiple flower variations in yellow, purple, white, and red., Parrot Tulips II; wc; (30 x 23 inches); '95; [no.] 10, A native of Portland, OR, Sherrie Wolf received her BFA in 1974 from Pacific Northwest College of Art in printmaking and then furthered her studies at the Chelsea College of Art in London where she received her MA degree. During her time at PNCA she studied etching and worked in this medium through the 80's. She had a brief tenure of teaching at PNCA through 1986. Since the late 80"s, the focus of Sherrie Wolf's art has been painting and drawing. Many local and national corporations as well as many private collectors have collected her rich, elegant superrealistic works on canvas and paper. (Oregon Arts Commission, 1995), http://www.sherriewolfstudio.com/, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Linn-Benton Arts
38. Ruby Wind
Ruby Wind
Description
The color choice and order of application in this abstract painting suggest a landscape scene. Thick brush strokes describe dark blue that gives way to an aqua tone, which then gives way to ochres and browns., Ruby Wind; Acrylic on wood; (18 x 20 inches); [no.] 5, Kay French grew up in the Midwest which perhaps explains her fascination with storms and flat land. She moved to Portland in 1977. Kay has a degree in art history from Kent State University and a degree in painting from the Pacific Northwest College of Art. Her work has been exhibited in various shows in regional galleries and museums. She was awarded a WESTAF/NEA Regional Fellowship for Visual Artists in Painting in 1994. She has also been represented by the Pulliam Deffenbaugh Gallery in Portland, OR. (Oregon Arts Commission), http://pulliamdeffenbaugh.com/Artist-Detail.cfm?ArtistsID=162, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/
39. Silver Creek 584 (305)
Silver Creek 584 (305)
Description
An abstract acrylic painting featuring different shades of blues with a few orange streaks., Silver Creek Series 584 (305); acrylic on canvas; (41 x 60.75 inches); '88; MorC97051621, Morris was a realist painter who moved into the world of abstract expressionism later in his life., http://www.usbr.gov/museumproperty/art/biomorri.html, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/
40. Orange Hat
Orange Hat
Description
An orange brimmed hat with a black thick band above the brim. The hat is untethered. There are straight lines cutting through the entire piece segmenting the colors into different geometric shapes., Michele Russo was born in Waterbury, Connecticut in 1909. In 1930, he enrolled at Yale University and received a B.F.A. degree in painting in 1934. During the depression years he was employed at a muralist through a Works Progress Administration project and in this capacity executed murals in several Connecticut schools. In 1937, Russo left Connecticut to accept a fellowship to study with Boardman Robinson and George Biddle at the Colorado Springs Fine Arts Center in Colorado Springs, Colorado for one year. During the next ten years he was a social activist and worked for the Federal Education project in Connecticut. In the fall of 1947, Russo moved to Portland and was hired by the Museum Art School the following year to teach painting and art history, remaining on the staff until he retired in 1974. During his tenure at the Museum Art School he became known as Portland's most articulate voice of artists' political, social and artistic rights. In the 1950's, along with friends, he started a co-op op professional artists called Artists Equity. In recent years Russo has been active in various organizations to make art a more visible part of the cultural life in the Northwest; he was one of the original founders of the Portland Center for the Visual Arts. In 1975, he was Chairman of the Oregon Committee for Art in Public Places. In 1977, he was appointed to the Metropolitan Arts Commission; the first artists so honored. (Unknown, 1995), http://www.aaa.si.edu/collections/oralhistories/transcripts/russo83.htm; http://www.laurarusso.com/artists/russo.html, The Oregon Arts Commission has ten Regional Arts Councils that provide delivery of art services and information. The Council for this location is: Linn-Benton Arts. You may view their website at: http://www.artcentric.org/
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