Landscape comes alive during an upcoming solo exhibition of Douglas Fryer’s latest oils.
“Art happens in the heart and in the mind and in the soul, not just the hand,” observes Douglas Fryer, and it is a philosophy that surfaces with stunning results in the artist’s landscapes. Filled with predominantly soft, graceful strokes, Fryer’s paintings have an atmospheric essence that filters into the viewer’s space, encapsulating that viewer in a fury of emotional experience.

Douglas Fryer, “Tintagel,” oil, 20 x 45 in. (c) Meyer Galleries 2015

Strong, horizontal strokes give “Night’s Rain Passing” a linear quality that creates dramatic movement from one side to the other. While it is largely abstracted, representational forms emerge from the planes of color, including a small group of horses to the right and perhaps a barn or two in the upper left.

Douglas Fryer, “Ranch in the Cedars,” oil, 18 x 18 in. (c) Meyer Galleries 2015

“Tintagel” is a superb example as well, its rocky forms defined with a sharpness and clarity that seems very distant from “Night’s Rain Passing.” A small cove, represented softly but activated by swaths of white, is surrounded by the grass-covered, imposing cliffs of a rocky shore. These, along with 12 other paintings of varying size, will feature in an upcoming solo exhibition at Meyer Galleries in Santa Fe, New Mexico.
For those who seek to pick up one of their own, time is of the essence. “Douglas Fryer” opens on September 11 and will hang through September 18: one week.
To learn more, visit Meyer Galleries.
This article was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine. To start receiving Fine Art Today for free, click here.

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Andrew Webster is the former Editor of Fine Art Today and worked as an editorial and creative marketing assistant for Streamline Publishing. Andrew graduated from The University of North Carolina at Asheville with a B.A. in Art History and Ceramics. He then moved on to the University of Oregon, where he completed an M.A. in Art History. Studying under scholar Kathleen Nicholson, he completed a thesis project that investigated the peculiar practice of embedded self-portraiture within Christian imagery during the 15th and early 16th centuries in Italy.


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