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“Painting the landscape, for me, is watching the light. Painting still lifes in the long slanting light of winter is a way to keep track of myself and the days as they move toward spring.  I paint fast and try the image again and again as the light changes.  Painting this way may be as much about how the eye sees or the brain works as it is about the light.  I get double takes of the image.  It seems playful.  There is a dailyness about this.  It is like painting landscapes inside or from inside out to the landscape.

Martha Armstrong has had many solo and group shows in the United States and Italy.  She has received grants from Smith College, a residency at Hollins University, and at the Camargo Foundation in France, and was a Visiting Artist at the American Academy in Rome.  She has taught at the Kansas City Art Institute, Indiana University, Smith, Mount Holyoke, Dartmouth, and Havorford Colleges, and now is a graduate critic at the Pennsylvania Academy of Fine Arts.

Armstrong studied at the Cincinnati Art Academy, Smith College, and Rhode Island School of Design. She shows her work at the Bowery Gallery, New York, Gross McCleaf Gallery in Philadelphia, Elder Gallery in Charlotte NC, and Oxbow Gallery in Northampton, MA.

[Armstrong’s] language is abstracted realism where forms, composition, color and light have an often undefined relationship to optical reality, although in every work you know she is experiencing the same landscape view at the same time as she is creating the drawing or painting. Armstrong’s style is abstraction with recognizable realism equivalency, so the term “abstracted realism” indicates that this is not a likeness, it is a form, color and light reinterpretation of an experienced landscape.  

Abstraction takes in the entire picture plane, every inch of the area having the same sense of immediacy, composed to give the viewer opportunity to become involved through movement, the rhythm of a free-flowing brushstroke of color, contra-punctual forces connecting through form elements, such as diagonals, and the density of affinities between colors.   Margaret A Skove, Director, Blanden Art Museum

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  • Vermont Yellow Fall 48x40 oil on canvas
  • The Yellow Patch 25x40 oil on canvas
  •  The Orchard 34x48 oil on canvas
  • Early Morning Hollins 24x38 oil on canvas
  • Oxbow at Saugatuck 32x40 oil on canvas
  • Early Fall Hollins 12x18 oil on canvas
  •  Ash Study II 14x17.5 oil on linen
  • The Meander in Snow 26x28 oil on linen
  • The Meander 25x40 oil on linen
  • In Snow 8x10 oil on board
  • Mock Orange 30x48 oil on linen
  • Going Going Gone 34x50 oil on linen
  • Adams Tractor Tracks 34x50 oil on board