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Susan Hope FogelThe Way In Light (Traditional Realist Oil Landscape of Stone Wall Path)
$2,000
£1,524.04
€1,757.64
CA$2,840.60
A$3,052.06
CHF 1,637.43
MX$35,956.84
About the Item
"A Way in Light" by Susan Hope Fogel
oil on canvas panel
9 x 12 inches, 14.5 x 17 inches in gold leaf frame
wire on reverse for easy installation
signature in lower left
Susan Hope Fogel explores a fascination with light in her approach to traditional, realist landscape painting.
Among the star traits of "A Way In Light" are the rich shadows that span the stone walk way between trees in summer. Sunlight streams through the canopy and catches on random branches. A pathway appears to lead into a darker patch of woods, a gateway into the unknown. This work is perfectly complimented with a gold frame whose design parallels the tradition of the painting style itself.
Susan Hope Fogel has remained steadfast in painting the light, i.e. following a timeless tradition that culminated in the mid-eighteen-hundreds under the banner of "The French Barbizon School." Briefly stated, it was a long-held belief that "real" painting was a matter of capturing the play of light on the forms and colors of natural phenomena. The more we learned and observed how light revealed the world we live in, the "realer" our art would be — "realism" or "realistic" or "representational" art, therefore, would be the mainstay — so manifestly demonstrated in Susan's exhibit of "realistic" motifs.
After spending many years painting in the style of traditional realism , Susan had the opportunity to work with Paul Ching-Bor to explore a new form of expression in Deconstructionist Watercolor. Working in New York City with a group of large scale watercolorists, Susan soon found herself fascinated by the experimental quality of this new media. A great departure from the world of realism this media allowed for great freedom of expression creating from an intuitive place, deep within, instead of inspiration from the outside world.
The focus of her work has now shifted to large scale watercolor painting with an emphasis on abstraction of landscape and cityscape.
Susan has studied in art schools in New York City including: classical drawing at The New York Academy of Art, figure and portrait painting at The Art Students League and The National Academy of Design. She credits John Philip Osborne for developing her painter’s eyes at The Ridgewood Art Institute.
- Creator:Susan Hope Fogel (American)
- Dimensions:Height: 14.5 in (36.83 cm)Width: 17 in (43.18 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement Style:
- Period:
- Condition:
- Gallery Location:Hudson, NY
- Reference Number:1stDibs: LU2279392782
Susan Hope Fogel
There is no doubt that Susan Hope Fogel will be concerned one of the 'modern masters' of her time. Early in her career, Fogel held a distinctly classical approach to traditional realism as evidenced in her landscape and still life paintings. Created in oil, painted in studio or plein air, she always paints the light. When one considers the difficulty in understanding the role of light on form and color, especially its ever-changing presence and effect, it is perhaps easier to understand the dismissal of classical training by both "modern" artists and the numerous middlemen involved in the artworld of today. In 2015, after spending many years painting in the style of traditional realism, Susan Hope Fogel had the opportunity to work with Paul Ching-Bor to explore a new form of expression in Deconstructionist Watercolor. Working in New York City with a group of large scale watercolorists, Fogel soon found herself fascinated by the experimental quality of this new media. A great departure from the world of realism this media allowed for great freedom of expression creating from an intuitive place, deep within, instead of inspiration from the outside world. The focus of her work has now shifted to large scale watercolor painting with an emphasis on abstraction of landscape and cityscape. Susan has studied in art schools in New York City including: classical drawing at The New York Academy of Art, figure and portrait painting at The Art Students League and The National Academy of Design. She credits John Philip Osborne for developing her painter’s eyes at The Ridgewood Art Institute.
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