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John Young Leaps into History by Alan Bean
“You feel this way when you're finally on the Moon!” says artist and
Apollo 11 astronaut Alan Bean. “It’s the culmination of all you’ve
studied and worked for since you were a little kid.
“John has jumped straight up about 3 feet or so. On Earth, this would
have been impossible because John weighs 160 pounds and the suit and the
backpack weigh 150 pounds, but on the Moon everything (including John)
weighed only one-sixth as much. Someday there will be athletic contests
on the Moon, maybe even Solar System Olympics and many astonishing
records will be set.”
Apollo 16, April 16-27, 1972, was Young’s fourth space flight but his
first lunar exploration. Young was Spacecraft Commander accompanied by
Astronauts Ken Mattingly and Charlie Duke. Young and Duke set up
scientific equipment and explored the lunar highlands at Descartes in
the Lunar Rover.
“Find a sausage tree,” says Guy Combes, “and the chances are good you’ll
find a leopard as well. They are ideal for leopards, with their large
broad branches to sprawl out on or to place a kill for safekeeping away
from lions, hyenas and jackals. Leopards have evolved incredibly strong
fore and hind leg muscles specifically for climbing trees. This trait
allows them to avoid fighting with other animals of prey over a kill.
“Sausage trees don’t grow in stands, so a large solitary tree provides a
leopard not only with solitude but also with an expansive view of what
is happening in the territory around it. Leopards will hunt from the
early evening to dawn so at midday, as it was when I came across this
great cat on the Maasai Mara, leopards are most likely resting. This cat
was so comfortable in its perch that a group of elephants rubbing
themselves on the base of the tree barely disturbed it.”
Men of Honor by R. Tom Gilleon
“’All men of honor are of the same tribe’ is a quote from a Native
American I came across one time doing some research,” says Tom Gilleon.
“There are so many noteworthy layers in that notion that I never forgot
it. The painting itself is a visual take on the concept rather than
anything historical. I used bold primary colors, red, yellow and blue,
to augment that sense of strength. These men are from different bands,
but their sense of principle, of right and wrong, makes them of one
tribe. Even with the hardships they endured at the hands of the nation
the flag represents, the flag bearer’s sense of honor does not allow the
emblem the indignity of touching the ground.”
'Riparian’ refers to the life zone along a
waterway or a lake and the riches are all the life inhabiting that zone
from beneath the dappled water to the foliage in treetops.
“I wanted to do a very long, wide-angle view of a slow-moving river
because I really enjoy painting crystal-clear water with reflections
including the textures in the foliage on the opposite side of the
river,” said artist Stephen Lyman. “I purposely shortened the view to
include just a peek of the sky, because I wanted the viewer to feel this
landscape intimately. There’s sand, lichen on boulders, leaves, trunks
of trees, grasses, roots and many other things. It’s almost like a still
life. Even the bird, a great blue heron, stands motionless in the water,
waiting for a fish to come by for breakfast. I chose him because of his
quiet and patient personality.” This
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MasterWork™ Anniversary
Edition
Greenwich Workshop Fine Art Giclée Canvas:
limited to 75, numbered and signed by Andrea Lyman.
56"w x 16"h (unstretched).
$950
The location of this new release by Mian Situ is Canyon de Chelly in
northeastern Arizona. Today it is a Navajo Tribal Trust land and home to
the preserved ruins of the early Anasazi and Navajo tribes.
“When I was in Canyon de Chelly in May last year,” says Situ, “I saw a
beautiful rainbow after a storm. The Navajo people believe that the gods
travel on the rainbow because it moves so rapidly. They also portray the
rainbow as the bridge between the human world and the other side. Navajo
people have lived in Canyon de Chelly for generations and are still
living there today, herding sheep and cattle and farming the land.” This
Art qualifies for you to choose FREE Art - SEE List (PDF
format)
Greenwich Workshop Fine Art Giclée Canvas: limited to 40 s/n.
27"w x 27"h.
$950
Kissing the Face of God by Brian Keith and Morgan Weistling
Sculptor Brian Keith brings breathtaking
three-dimensional life into Morgan Weistling’s
Kissing the Face of God. We can easily relate to
the wonder of the bond between a mother and child, but can only
“imagine” what it would be like to embrace the baby Jesus. This
beautiful bronze reminds us that sometimes a complicated leap of
faith is as simple as a kiss.
Morgan Weistling didn’t think twice about who would create the
first bronze of one of his most important and popular works,
sculptor Brian Keith. Of course, it didn’t hurt that Brian
served a modern day apprenticeship under Morgan. “A program such
as this is going to be judged by the quality of your first
effort. You don’t get a second chance. Kissing the
Face of God relies on and is so successful because
it captures that tender interaction between a mother and her
child. The bronze has to convey this delicate relationship and I
think Brian has done a spectacular job in doing so.”
This work will disappear quickly, because
it is an edition of only 50 pieces and this is the first time
any of Weistling’s work has been presented in bronze. It was
Brian Keith’s long relationship with Morgan that was the key
factor in getting this first-ever bronze of a Weistling work off
the ground. Each artist trusted the instincts of the other,
working together to bring one of the most moving pieces of art
from one medium to another.
“The painting was first inspired by a
song that I heard one day,” relates Weistling. “Sometimes,
hearing one phrase is all it takes, and then a flood of
inspiration follows. The phrase “kissing the face of God”
immediately struck me with this powerful image of Mary and the
Baby Jesus. It is an image that we have seen depicted many
times, but never simply as a mother and her child with real
tenderness. I started to contemplate the awesome privilege that
Mary was given, being able to hold God in her arms, but also
keeping in mind that He was still her baby. This cute little
child whom she bore was also God in the flesh. And yet, she
cuddled and kissed Him, just as all mothers do with their
babies. This thought propelled me right into this painting which
I wanted to be a very human representation of divinity. My
prayer is that the viewer will be struck, as I am, with the
amazing way that God chose to send His Son into this world — in
pure humility.”
When Europeans first arrived in the New World, lobsters were so
plentiful that a minor storm could deposit two feet tall piles of the
crustacean along the shoreline. They were so abundant and easy to
harvest that they were known as “the poor man’s chicken.” Flick Ford
brings us, in all its Technicolor glory, the world record lobster that
was caught in 1977 off Nova Scotia, Canada, weighing in at 44 pounds, 6
ounces, measuring nearly four feet long. If it takes five to seven years
for a lobster to reach the weight of one pound, we can only wonder how
old this world record lobster was.
We don’t often get the chance to see just how beautiful these creatures
are when emerging fresh from the trap. Perfect for the beach house or
kitchen, you can order your lobster in one of three sizes: 1 1/2 lbs
(paper), 4 lbs (canvas) or one of the (15) world record 44 lb behemoths
(canvas). This
Art qualifies for you to choose FREE Art - SEE List (PDF
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World Record Lobster
Greenwich Workshop Fine Art Giclée Canvas:
limited to 15 s/n.
54"w x 40"h (unstretched).
$750
Phone or more info
4 lb. Lobster
Greenwich Workshop Fine Art Giclée Canvas:
Open edition, signed by the artist.
24”w x 18”h. (ships gallery wrapped).
$350
Phone or more info
1 1/2 lb. Lobster
Greenwich Workshop Fine Art Giclée Print:
Open edition, signed by the artist.
18”w x 12”h.
$85
Phone or more info
“I didn’t grow up in the South,” says artist
Steve Hanks, “but I love the feel of it, especially Savannah, Charleston
and New Orleans. These places fit the emotions I use in my art. The
young woman in this painting is lost in a moment of reflection but her
posture is relaxed anticipation. She’s ready for what’s coming her way.”
In the Warm Savannah Sun captures the most
compelling qualities of Steve Hanks’ artwork. The single feminine
figure, defined by sunlight and shadow, caught up in private emotions
but placed in a specific physical location. We can feel the warm
sunlight on her shoulders and the cool stone tile underfoot. The
ubiquitous wrought iron fences of Savannah are here, as well as its
beloved live oak trees with Spanish moss in the background.
Spring, the season of rebirth, calls for
celebrating the fragrance and the splash of delicate color―all spilling
forth from the greenhouse. The winter toil to jump start the flowers now
seems worth every bit of the effort. Who won’t savor the dewy fragrance
of these blooms or long to touch their satiny petals? It’s time to sit
back, relax and enjoy the fruits of your labor.
A Paul Landry painting will brighten a room by its
very presence. Invite this Greenhouse into
your home and watch the smiles of friends and family as they enjoy the
view.
“My
paintings are private moments with the untamed, an intimate moment with
the elusive side of the wilderness,” relates Bonnie Marris. “If
connections between two people begin with the eyes, I think that when
you are introducing people to wildlife, you should begin in the same
way, with the eyes.”
“There is a line in a song by Cheryl Wheeler. ‘. . . they hear voices
older than time.’ It’s part of the aura around wolves. When you look
into their eyes they seem to see so much farther and know so much more
than we do. People have come up to me at shows and tell me that they’ve
felt it was the first time they’ve connected with a wolf. I get so
excited when I hear that.
“I think about our history with wolves and how much, throughout history,
we feared them. It seems we are now attempting to understand them rather
than fear them. Wolves are so secretive. It’s taken a long time to
realize that they share many traits with us. If you think about how
family oriented the pack is, it’s amazing. Family is family and we share
that social nature.
“We are so busy and so rushed, a painting is a way to stop and spend a
few moments discovering something new about the world in which we live.
In the end, it gives us the chance to discover something new about
ourselves as well.”
“Gone Fishing
was inspired by a friend’s photo of brown bears taken in Katmai Park,
Alaska,” says artist Daniel Smith. “The cubs are quite small so this
would be in spring to early summer. These little guys will stay with
their mother for almost two years and won’t reach their full size for
another four years. Even the most hardened city-dweller knows about the
bond between a mother bear and her cubs. The mother’s extreme protective
instincts aren’t unfounded, especially concerning large boars, which
will attack and kill cubs. She may be swimming ahead right now but her
ears are cocked, listening for the paddles and grunts from the swimmers
just behind her. Getting accustomed to water is not just play time for
the young cubs. From late-August to mid-September, the sockeye salmon
are spawning in the Brooks River at Katmai National Park and the bears
are in and around the water eating fish for weeks, putting on the pounds
and fat in preparation for November hibernation.
Trail in the Bitter Roots by Howard Terpning®
“This scene shows part of the old Lolo Trail used by the Nez Perce
Indians when they left their home country in Idaho in 1877 and crossed
over the Bitter Root range into the Bitter Root valley heading east in
their attempt to reach Canada,” says artist Howard Terpning. “The trail
was extremely rough and dangerous and yet hundreds of people managed to
cross the mountains, including old people and children, with all their
horses and goods. It was an amazing accomplishment. I could paint this
portion of the trail with some authority since I spent two days riding
the trail on horseback in the summer of 1985. It was this adventure that
inspired me to do the painting.”
Howard Terpning is the most renowned and honored Western artist working
today. His original paintings are out of reach for most of us but you
can hang this signed Masterwork™ in your home or office for a fraction
of the cost of one of his original paintings. He most recently was
awarded the Thomas Moran Memorial Award for Painting at the Masters of
the American West Fine Art Exhibition and Sale in February 2010 for his
painting The Sound of a Distant Bugle.
Country Schoolhouse, 1879 by Morgan Weistling
“The one-room schoolhouse goes back to the founding of our great
country,” says artist Morgan Weistling. “It evolved through the decades
but the general idea remained the same. I painted the time period that I
know and love best, the post Civil War era. I decided to place the
teacher as the focal point, a tribute to all the dedicated teachers that
help build this nation.
“This is a rural country schoolhouse and I wanted to portray a class
that was a little more primitive. They were still using individual chalk
boards instead of pen and paper (because of the cost of paper then). No
fancy bows and frilly dresses for these kids. I imagined these children
as coming from a farming community as well as tradesmen’s homes.
“In my mind, each child has a story. Some are related to each other.
There is the girl who gets jealous because another girl is talking to a
boy she likes. There is the boy with adoring eyes for his teacher and
the girl that has eyes on him. Then there’s the kid who is more
interested in his chalk than the lesson and the boy who really is having
trouble understanding the lesson. I show a little slice of each of their
personalities. Teachers and their classes from this period often appear
grim-faced in photographs because of the long exposures required to
capture the image. But children are not grim! I used real children as my
models to make this room feel alive. I also imagined a background story
for the teacher. She is new to her profession, full of enthusiasm yet a
little naïve about whom she is entrusted to teach. From crushes to
jealousy to apathy to determination, it’s all there in that little one
room schoolhouse.”
Apollo 17 Astronauts Gene Cernan and Jack
Schmitt are doing some “low-tech” body work on their high-tech Lunar
Rover. During their first moonwalk Gene accidentally hooked the
hammer he carried in his right leg pocket onto the Rover’s right
rear fender extension, knocking it off. He fixed it temporarily by
taping it on with duct tape. Unfortunately, somewhere on their lunar
drive the tape gave way and the fender extension fell off and was
lost for good.
Losing a part of a fender, a minor problem on
planet earth, is a serious one in the light gravity of the moon.
Gene would report, “Oh, it pretty near makes me sick at losing that
fender. With the loss of any of the fender extension the dust
generated by the wheels is intolerable. Not just the crew gets
dusty, but everything mechanical on the Rover is subject to dust. I
think dust is probably one of our greatest inhibitors to a normal
operation on the moon.”
Back on planet earth, Astronaut John Young and
other friends in mission control conceived a nifty repair. After
wake-up the next morning, Gene and Jack would select four
plasticized maps already used on the mission and tape them together.
Back with the Rover on the surface that morning, they could continue
with the repair. I painted Gene and Jack aligning the maps to the
fiberglass fender. When Gene is satisfied, Jack will hold the maps
steady as Gene secures them using two small clamps normally used to
mount auxiliary lights inside the lunar module cabin. The fix
worked! SmallWorks™
Greenwich Workshop Fine Art Giclée Canvas: limited to 125 s/n.
14"w x 10"h.
$265 US and CDN
“In July and August, wonderful patches of
solid gold appear and flourish across the Tuscan countryside,” says
artist June Carey. “Closer inspection reveals vibrant fields of
sunflowers basking in the hot sun, bowing rows of big happy faces.
Even when their giant heads, heavy with mature seeds, begin to hang
from the weight they still seem lighthearted.
“Girasole (singular) or girasoli (plural) is
Italian for sunflower. Gira means “turn”, and
sole means “sun.” People think the flowers actually turn to
follow the sun. I have spent time studying this and can say that
once the flowers are mostly open, they seem to stay facing primarily
east, in Italy, and also in California.
“Finally, in My Girasoli, I achieved
something I always wished for: to live in a painting! (The villa I
share with my neighbors is in the background.) Each year the
sunflower crop is alternated, usually with maise. I was sad to learn
the field beside the house was not going to be sunflowers last year,
when I was there. But, Francesco, my neighbor on the bicycle, told
me that these sunflowers were newly planted just up the lane.
Francesco has a huge garden down the road. He and his wife, Maria,
who live in the apartment above mine, ride their bikes to and from
their garden every day. Here he is returning home for lunch,
carrying his hoe. Maria's fresh laundry is hanging on the terrazzo
above mine. And me--I am the crazy American artist, running around
with my camera, taking photos in the hot sun while every sane
Italian is going to rest until the heat subsides." MasterWork™
Greenwich Workshop Fine Art Giclée Canvas: limited to 35 s/n.
40"w x 30"h (unstretched).
$995 US and CDN
Now the Lord had prepared a great fish to swallow up Jonah.
And Jonah was in the belly of the fish three days and three nights.
Jonah 1:17
“I always loved the Jonah story,” says James C. Christensen. “When I
thought about the scripture that said the Lord had ‘prepared a great
fish’ to swallow the recalcitrant prophet, I went home and got to
thinking that if I were God, I’d make a really neat-looking fish. So
I painted what I thought it might look like. The thing to remember
is that the window is a one-way mirror. If Jonah could see out, it
would be just another vacation cruise.”
Anniversary Edition
Greenwich Workshop Fine Art Giclée Canvas: Edition not to exceed 450. Signed by the artist.
16"w x 12"h.
$425 US and CDN
The Survivors by Simon Combes
A pair of eastern black rhinos make their way across the floor
Tanzania’s Ngorongoro Crater in the late-afternoon African sun.
Weighing in at one- to one-and-a-half tons and over 60” tall at the
shoulder, this ill-tempered prehistoric throwback roams the savanna
at will. Black rhino have a tendency to be less social than their
cousins, the white rhino, but a mother and calf do remain quite
bonded for up to four years.
At one time,
over 30 species of rhinos could be found around the planet. Now
there are only five. Two species, the black and the white, are found
in East Africa. Both African species have two horns. A rhino’s poor
eyesight is augmented by a strong sense of smell and good hearing
(and the above-mentioned bad attitude). Left unharmed by man, a
rhino can live 30 to 40 years in the wild.
Simon loved rhinoceroses, but painted
surprisingly few. The Survivors was a personal favorite of
his.
Greenwich Workshop Fine Art
Giclée Canvas: limited to 50 and numbered.
30"w x 20"h.
$725 US and CDN
Lion Cub and the Butterfly by Simon Combes SmallWorks™
Greenwich Workshop Fine Art Giclée Canvas: limited to 75 and numbered.
14"w x 10"h.
$225 US and CDN
In Tall Timber by Rod Frederick
“This was one of my first paintings of a grizzly,” says artist Rod
Frederick, “and it’s also one of my favorites. The setting is
Glacier National Park, a haven for grizzlies in the lower 48 states
because it’s over a million acres; since it was established in 1910
the wildlife were protected early on. There are an estimated 300
grizzlies in the Park. Grizzlies can be dangerous but despite their
size and strength they are predominantly vegetarian and learn from
their mothers where and when to look for succulent food. We
interrupted this forager and I recommend we take a step back now …
many steps back.” Greenwich Workshop Fine Art Giclée Canvas: limited to 75 s/n.
18"w x 28"h.
$525 US and CDN
The Country Mouse and the City Mouse by Scott Gustafson
Once upon a time … artist Scott Gustafson turned his paintbrush to
this delightful Aesop’s fable on “to each his own.” The city mouse
visits the country mouse and finds his raw nuts and feed corn coarse
and unappetizing. The country mouse visits the city mouse where the
repast is refined and wildly diverse, but eating it is nearly
impossible with the all the roaming cats and human activity.
Gustafson’s usual good cheer imagines the two happily toasting,
vive le difference!
SmallWorks™
Greenwich Workshop Fine Art Giclée Canvas: limited to 75 s/n.
10"w x 8"h.
$195 US and CDN
“This is a symbolic painting, rather than a
piece depicting a specific person or event,” says artist Z.S. Liang.
“This Piegan warrior, holding a spear with a raven feather attached,
is wearing a talisman with Sun and Moon and ermine tail and a golden
eagle feather on his hair. He rides a war horse and thunder clouds
are moving into the west in the background. With great pride, he is
looking at the eastern horizon where the white men coming from. What
is in his mind? I intend to leave this question with the viewer.” MasterWork™
Greenwich Workshop Fine Art Giclée Canvas: limited to 15 s/n.
31"w x 48"h (unstretched).
$2250 US and CDN
Study for Abraham Lincoln: The Great
Emancipator by Dean Morrissey
In November 1864, President Lincoln was
re-elected despite widespread war-weariness in the North. Sherman’s
recent capture of Atlanta gave hope that the Civil War was near its
end. The Great Emancipator nickname referred to Lincoln’s 1862
Emancipation Proclamation, a sweeping political move that freed
slaves in territories not already under Union control.
Artist Dean Morrissey’s moving portrait captures the President at
the close of the Civil War contemplating an unknown future for the
United States. Lincoln was shot on April 14, 1865, a mere five days
after Robert E. Lee’s surrender to Ulysses S. Grant at Appomattox
Courthouse. He died the next morning. The Great Emancipator, done
with his earthly, practical duties, entered the realm of hero and
legend. Greenwich Workshop Fine Art Giclée Canvas: limited to 250 s/n.
12"w x 16"h.
$295 US and CDN
With this, the sixth release of artist
William S. Phillips’ series on the Doolittle Raiders, the artist and
the surviving members of the Raid pay homage the Navy’s role in the
legendary raid on Japan. Sending two United States aircraft carriers
to the coast of Japan in 1942 was a risk of the highest order for a
fleet, and a nation, still reeling from Japan’s string of victories
in the Pacific. The USS Hornet, loaded with the 16 B-25s (all that
could be shipped) which would strike the Japanese mainland in the
“Halsey-Doolittle Raid,” steams eastward as part of Vice Admiral
Halsey’s Task Force 16. The SBD Scout Bombers circling above would
have been members of VS-6 flying from the USS Enterprise.
For more information about this exciting
release,
click
here
A Greenwich Workshop Personal Commission™ Fine Art Giclée
Print: limited to the number of prints ordered during the
commission period.
Signed by the artist and numbered.
Countersigned by surviving members of the Doolittle Raiders.
Image size: 24"w x 17"h.
Paper size: 26"w x 27"h.
$395 US and CDN
