Fans of John Singer Sargent often comment on the artist’s unique ability to communicate so much information and emotion with one broad and aptly placed stroke of the brush. Using the palette knife rather than a brush is renowned painter Lynn Boggess, whose creative abilities could be on par with the American master. Decide for yourself!
Contemporary painter Lynn Boggess is currently showcasing a number of recent landscapes at Santa Fe, New Mexico’s EVOKE Contemporary. Collectors are often taken by Boggess’s unique style and expressive use of impasto and the palette knife. To be extreme, his paintings almost border on the sculptural, given the rough, dynamic, and jagged textures produced on his canvases.

Lynn Boggess, “08 June 2016,” 2016, oil on canvas, 34 x 30 in. (c) EVOKE Contemporary 2016

Lynn Boggess, “16 May 2014,” 2014, oil on canvas, 24 x 48 in. (c) EVOKE Contemporary 2016

Lynn Boggess, “18 May 2016,” 2016, oil on canvas, 40 x 36 in. (c) EVOKE Contemporary 2016

Indeed, viewers will delight in each painting as they journey through their representational and abstract qualities. Scale is yet another element that will make impressions on viewers. Boggess typically works in monumental scale, with many of his works stretching several feet in both height and width. With all their colorful power and vivid energy, viewers will be engulfed — literally and figuratively — by Lynn’s creative vision.
To learn more, visit EVOKE Contemporary.
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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