Ohio Farm On An April Day
by Robert R. Young
An unpaved country road leads directly into the heart of Ohio Farm On An April Day. After heeding the admonition of the yellow stop sign, the viewer arrives at the old farm set back under the trees. Smoke from the chimney hangs low over the house indicating the high humidity of the atmosphere, and bare tree branches bend in the same direction as the drifting smoke. The colors are winter-subdued; however, glints of yellow on branch tips and fresh green appearing in the field signal the land's awakening from a winter sleep.
by Bertha Gill Johnston
A casual arrangements of red tulips and gray pussy willows makes up a spring bouquet in this still life. The artist creates a harmony of complementary colors, especially red and green, which guides the viewer into the gentle curves of the arrangement. Bertha Johnston has placed flowers on a white cloth in front of a window. This enables her to work with light coming thorough the window, filtering through the crystal vase and producing blue shadows on the snowy cloth.
by John D. Clarkson
An arc of slushy road crosses the black tracks of a railroad under sentinel-like gates and leads the viewer to the center of a small Western Pennsylvania town. Perched beside the crossing, like an oversized birdhouse, is a little green building where the gatekeeper watches. The artist has succeded in creating a wet, cold winter day. The foreground is dark and desolate but the stuctures of the town stand with their glowing lights to welcome the approaching traveller.
by George H. Gerhardt
Winter Sunshine is a well-planned composition that uses classical symmetry to create a sense of tranquility. Two ruts through the snow lead the viewer from a shadowed foreground to the clear, lighted center of the painting. On either side of the lane, groups of trees divide the work into the desired harmony of the classical tradition. The artist selected his most vibrant color and placed it in the very center in the yellow house. He balanced it with a smaller yellow building to the right and a red one to the left. He created the deeper snowbanks by building a thickness of paint, while simply staining the canvas for the misty background.
Pittsburgh Snow Scene
by Peggy Phillips
Pittsburgh Snow Scene won the Carnegie Institute Prize at the Associated Artists Show in 1938. The work, in the WPA styple, presents a frosty, windy street corner. Snow swirls and settles on roofs,walls and road while two little birds huddle on the branch in the central foreground. Two small children, looking like birds themselves, brave the weather. Touches of bright green, red and gold brighten the black and white winter scene. Peggy Phillips told a student reporter that she wanted to enter a new painting in the 1938 show so she did this one very quickly. In fact, she painted the birds on the telephone wires the morning she took the painting to be juried.
by Roy Hilton
November Morning is a view from the artist's home in the Mt. Lebanon section of Pittsburgh. Roy Hilton was interested in the pattern and play of light that caused inanimate objects to stand out as separate elements. He has successfully captured that light in this composition. The sun rises in a golden glimmer through the frosty haze of a late fall morning, creating a luminosity that breaks away into the golds of the landscape and the blues and greens of the sky. The tree branches stand out against the sky, each twig separate. People live in this scene; the old milk truck and car assure us of that. However, people are not important here as design and harmony create the suspended stillness of the breaking day.
From Land And Sea
by Wilfred A. Readio
From Land And Sea is done with a superrealistic approach, although that style did not become a popular part of the art world until 40 years later. In this still life, the artist has taken four simple objects and painted them larger than life. In doing this, he seems to be saying that something here is important and he wants the viewer to discover what it is. A dried ear of corn and three seashells comprise the soft composition of light and shadows. Graceful curves abound in the shapes of the shells and curls of corn husks. The artist has created so real a quality of dryness in the painting that the husks seem almost to crackle.
September 2016 Painting of the Month
by Raymond S. Simboli
One of the all-time favorite paintings in the collection, Young Athletes, is a realistic portrayal of two football players and a friend engrossed in an unseen game. Dirt and grass stains on their uniforms indicate that the two teammates have already been on the field. The colors in the picture are rich and warm with touches of white in the background to provide distance and light behind the boys. The central figure is the artist's older son who was killed during World War II when his plane was shot down over Italy.
July 2016 Painting of the Month
A Day at the Beach
by Robert Anthony Jones
June 2016 Painting of the Month
May 2016 Painting of the Month
by Esther Topp Edmonds
April 2016 Painting of the Month
by Raymond S. Simboli
by (Saraf) Sara Feldman
by Kathleen Hicks
by Helen Lindsay Lee
December 2015 Painting of the Month
by William DeBarnardi
November 2015 Painting of the Month
by Aaronel DeRoy Gruber