Philip Koch Paintings

Edward Hopper, Summertime , oil on canvas, 1943, Delaware Art Museum I was in Wilmington, DE today dropping off a new painting at Somerville Manning Gallery . Before heading home I stopped by the Delaware Art Museum . I always resolve not to focus on old favorites at the museum, but my feet had other ideas and planted me in front of Edward Hopper's Summertime .  Famously awkward around others, Hopper taught very little during his life and commented he didn't like doing it. But he painted on a level brimming with his distinctive creative way of seeing. His paintings teach our eyes. Some time ago in a blogpost I talked about how Hopper did great inventive things with shapes on this canvas.  I noted this today and was about leave when I saw something I hadn't noticed before in the woman's legs. The left one is way more cool in color than the right (in person this shows much better than in my lowly iPhone photograph). Hopper went to great lengths to make the changing colors

Philip Koch, Clearing, oil on canvas, 30 x 60 inches, 2022. I was looking at my painting above,  Clearing,  Even a complex painting has to begin simply. Remembering how it started in my studio with me experimenting with different compositions of its basic flat shapes. At this stage it feels like arranging cut out  colored paper   on a flat table top. You can express a lot even with that.  I fell into reverie about my early days when I was an abstract painter. When I studied painting at Oberlin College probably 90% of my canvases were simple colorful abstractions of flat shapes.  At the time I hadn't seen how deeply ingrained this habit had become in my practice. S omething changed when I got to Indiana University to start their MFA Painting program.  It's funny how sometimes we learn the most critical lessons from things that at first seem modest and unremarkable. I was visiting the studio of another artist in the program. In the corner was a small and not very striking landsca

  At Somerville Manning Gallery yesterday- Left: Evergreen, Middle: Winter, Right: Narrow Cove Ogunquit At Somerville Manning Gallery yesterday,  Warm September I took four new paintings up to Somerville Manning Gallery in Greenville, DE yesterday. Two had just returned from Ogunquit Museum of American Art's exhibition Philip Koch: Isle of Dreams in Maine, and the other two were large canvases fresh off my easel.   Evergreen,   oil on canvas, 36 x 54 inches, 2022 (above).  When I was out on location painting the study for this large oil I had the feeling this was a home happily contented people lived in. Perhaps that's silly as I didn't see anyone around over the three mornings I worked on the painting. But there was something wonderful about their yard- bright sun splashing on exuberantly colored shutters and roof. Setting this off were the solemn dark evergreens, impressive in their size and obvious maturity.       Just returned from the Ogunquit Museum exhibition is  Win

  Art New England's July/August issue carries Carl Little's review of Ogunquit Museum of American Art's exhibition of Koch's paintings.

A video of the June 28, 2022 public  conversation between Philip Koch and Assistant Curator Theresa Choi about Ogunquit Museum's exhibition of Koch's paintings.  The video runs 50 minutes.  Here's the link- https://www.youtube.com/watch?v=Qt8v5q6kiFc

"What a nice place to work" ran through my mind as I came into the studio this morning. The standing mirror catches a reflection of the canvas I'm working on right now. Some collectors have told me they'd love to see the space in Baltimore where I create most of my paintings. Here's a mini-tour. This is just some of the brushes that are stationed at the ready. Last night's color mixtures of blue pigments grace my palette. In the distance is one of the three easels I have in the painting room- it's usually holding  a painting I want to study. At the right is the standing mirror that's always aimed so I can see a reversed image of the painting I'm working on on my main easel. Loaded paintbrushes love to roll into their neighbor and get their wet colors all over each other. I made a simple grooved brush holder to keep each color of the brush clear of collisions with other unwanted hues. The main working easel at the right. It's super heavy which i