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In the absorption of minimalist painting (ca. 1958 - 1968) I explored numerous avenues of fusion with late 19th-century landscape painting. My early efforts focused on the expressive potential of crazing effects. (The expressive-formal language of craquelure remains a staple of my non-objective and abstract oil painting.) Next I tried to imagine the color world of Rothko in terms of the earth-based palette and leaden impasto effects of late 19th-century Rembrandt revivalists (Monticelli, for example). In the final three or four of the pictures attached below I tried to produce a viable response to the surfaces of Brice Marden which could somehow draw visible links to the middle-period George Inness (ca. 1875 - 1882) and the later work of George Blakelock. Dorland's wax medium became the primary means of conveying that connection.
