Opening Receptions are
from 5:30-8:30 pm,
unless otherwise noted.
Douglas Elliott was born in Honolulu, Hawaii in 1953. His father was a Navy Chaplain who, as a young man, worked as a travel writer and amateur film maker. His mother, who spent her formative years in China, studied music and the arts, and encouraged his drawing. Home became many places and always a different landscape, from Hawaii to Washington State, Rhode Island, New York, Delaware, Pennsylvania, and Maine.
He attended the University of Delaware in 1973, where he studied Art History. He took painting and drawing under Charles Rowe, and was interested in cubism and surrealism. He spent the summer of '74 on an independent internship, visiting museums, galleries, and cathedrals in Europe. Upon returning, he decided to study figure and portraiture, and enrolled in the Pennsylvania Academy of the Fine Arts. He fell under the influence of Thomas Eakins and the realist approach of working from life, learning to draw from the nude model, classical sculpture, and to experiment in old master techniques in painting and drawing. He was particularly influenced by Morris Blackburn, Sydney Goodman, Ben Kamihira, Elizabeth Osborne, and Louis Sloan.
Mr. Elliott graduated in 1978, and was awarded the J. Henry Schiedt traveling scholarship. The following summer he traveled to England and Europe. He was enamored of Constable and Turner, and fell under the spell of the Barbizon School, with its painterly and romantic elements. He especially appreciated the work of Corot, Courbet, Degas, Sisley, and Cezanne.
American landscape painters have also influenced Elliott, such as Albert Ryder, George Innes, George Bellows, J Alden Weir, Childe Hassman, John Marin, and Rockwell Kent.
Elliott sees himself in a long tradition of artists who use landscape as a point of departure to recreate, in open air through observation and reflection, places remembered and felt, and to manipulate the line, light, color, and brush work to set off interplay between the flat surface and the illusion of deep space. It's a challenge to set the stage for something new and original.
When working outside, the changing light forces me to react spontaneously, and often the piece takes on a life of its own. Later, I continue working the piece in my studio, often on a larger scale, but it moves into a more reflective and meditative process. I am trying to convey the sense of place, the face or expression that reveals itself at certain times, searching for a glimpse of that hand behind it all.