|
Home
Gallery
The Artists
Current Exhibits
Previous Exhibits
Upcoming Events
Contact
Guest Book
Site Map
|
| presented by Carrie Haddad Gallery |
Tony Thompson began his artistic career as an abstract painter while studying at Rhode Island School of Design and then exhibiting
in the Boston and New York City galleries. Thompson is passionate about non
representational painting, but then he moved to Upstate New York and was inspired by the local landscape, the
same which the Hudson River School painters.Thompson now lives in Hudson / Watervliet, NY, where he
works on both representational and abstract styles.
Recent Exhibitions: Hoorn-Ashby Gallery, New York, NY; Carrie Haddad Gallery, Hudson, NY; New Canaan
Society for the Arts, New Canaan, CT; Stamford Center for the Arts, Stamford, CT; Sound Shore Gallery, Cross
River, NY; Allersma State Museum, Groningen, Netherlands.
Education: New School for Social Research MA (Cognitive Psychology); Cornell University MFA; Rhode Island
School of Design BFA; Dartmouth College.
Awards and Fellowships: 1995, Special Opportunity Stipend, New York Foundation for the Arts & The
Rensselaer County Council for the Arts; 1995 Merit Award, 12x12x12 National Painting and Sculpture Exhibition
curated by Terrie Sultan, Curator of Contemporary Art, Corcoran Gallery, Washington, D.C.; 1994 Art Educator
Award, Columbia County Arts Council.
Artist Statement: (In reference to the "Hudson Light" painting) "The painting is of the Hudson river between
Hudson and Athens, New York with the Catskill mountains in the distance. The panorama is seen from Parade
Hill. This cliff or bluff overlooking the river at the foot of the city of Hudson's main street was deeded to the town
in 1795 for a "public walk" by the "Proprietors" who purchased the
land and first settled Hudson. Nearby is a statue, the gift of General John Watts de Peyster, the last patron of the lower Claverack
manor. This is a place that has been inspirational for a long time. The Hudson / Athens light house, a substantial Victorian brick
house and light tower marking the channel in the middle of the river, is dwarfed by the immensity of it's setting. The
trees on the right that form that wonderful block of darkness reflected in the water grow on a long narrow
island between Athens and Hudson. Parade Hill is only a short distance from my studio. I have spent a great
deal of time there watching the river, mountains, and clouds in the
changing light of all the seasons and times of day. This painting depicts sunset in the early spring. I have tried to get the feeling of
immense space and some of the peace and fulfillment I've felt at Parade Hill into the painting.
Other Reviews: Says Kenneth Baker of Art in America, "…Anthony Thompson (is) one of Boston's most
respected artists…
Thompson's recent work is as much paint as painting. His basic operation and format is the brushstroke.
Painting with acrylic on glass, he begins a piece by laying down either a straight or curved stroke of another
color directly on top of the first, which he uses as a template. He repeats the same operation, using a different
hue each time, until he is satisfied with the accumulation of color
and material. The result, once dry, is a flexible "belt" of paint that can be peeled from its glass ground and affixed to a wall… At a
distance they look like simple signs, but even the stretching, curved brushstrokes look too abrupt to be called drawing with color.
Yet, as clear-cut as these works look from across the room, they have details that must be perceived slowly. Because
each successive layer of color covers all but the edges of those under it, the top layer of paint decides the
dominant color of each piece. Thus, viewed up close, the perimeter of each paint-object is marked by fluid,
overlapping margins of color that recede like colored hills in a miniature landscape. These margins reconcile
horizon line and framing edge in terms of the paint's own fluidity. By handling
paint as a sculptor might, Thompson makes the details of his work matter while avoiding problems over the optical behavior of color.
The colors in his pieces have no pictorial structure, for they are related only by the operation of "stacking" layers of
paint. That operation is evidenced not by the sequence of colors by only by the fact that each is different from
the others. As simple as Thompson's work is, it is completely dependent upon execution. Considered art objects
in themselves, the paint-forms are a brilliant invention…"
|
Selected Paintings
| To
view a larger Image, click on it. |
Please
note ! That you can only view Pop-Up Window's one at a time.
Either exit the open one or wait 10 seconds, before proceeding to
the next one.
|
| 1.)
Hudson Light,
oil on linen 36x54
$6,800
|
|
| 2.)
Wavenly Farm,
oil on linen 20x30
$3,400
|
|
| 3.)
Hudson and Catskills
oil on linen 36x48
$6,400
|
|
| 4.)
Early Color,
oil on linen 24x36
$4,200
|
|
| 5.)
South Bay,
oil on linen 48x36
$6,400
|
|
| 6.)
The Grove,
oil on linen 20x30
$3,400
|
|
| 7.)
Approaching Snow,
1998,
oil and acrylic 24x48
$ P.O.R.
|
|
| 8.)
Clouds, 1999,
oil and acrylic on linen and wood 28x28
$3,800
|
|
| 9.)
Claverack, 2000,
poured acrylic on panel 34x42
$5,800
|
|
| 10.)
Turkey, 2000,
poured acrylic on panel 36x40
$5,800
|
|
| |
|
Previous Page Next Page
|
)
)
)
)
)
)
)
)
)
)
