Philip Koch Paintings

Andria Derstine, the Director of the Allen Memorial Art Museum in Oberlin, OH sent out a holiday greeting yesterday and chose as an illustration an oil by Henry Ossawa Tanner (1859- 1937),  Flight into Egypt.  I've always thought Tanner, an important African American painter, was too little known and was happy to hear my alma mater's art museum added one of his paintings for their collection in 2017. To me he's an impressive painter with supreme visual skills. Tanner was a religious man and depicted the Holy Family leaving Bethlehem in 15 paintings over his life time. Clearly this was a story the guy wanted to tell. His painting has a way of drawing you in whether or not you're traditionally religious. Painters tell their stories through how they shape things. Tanner first makes a crytalline sky that casts a mysterious atmosphere over the scene. Riding under a cloak of darkness we see the Holy Family with hardly a detail. But Tanner entices our eyes to focus on them by

Deep Forest Pool,  oil on panel, 32 x 40 inches, 2020. I grew up in the last remaining old growth forest in my county. To be honest in summer it could be a bit dark and solemn under all those trees. But peppered through the forest were small stands of white birch. Even on the cloudy days their bark shone out with delightful energy. No wonder that's a theme I so often return to in my paintings. Yesterday I hung two of my birch paintings alongside a decorative mirror.  Stepping back to look I saw the oils and mirror resonated with each other. Got to thinking about how they connect. We put a lot of stock in mirrors. There's the Disney film   where the evil queen relies on her mirror to tell her if she is still the fairest of them all. Even worse, in the 1930's classic, poor Dracula's image wouldn't even reflect in the mirror, apparently because he had no soul. In any case we all use mirrors to try to find out who we are.  Light in the Forest,  oil on panel, 18 x 24 inc

Charles Burchfield, Telegraph Music, watercolor Burchfield Penney Art Center, Buffalo, NY We cheat ourselves out of meaningful experiences.  So often we're too quick to turn the page and move on. We overlook things that matter. A job of artists is to say "Not so fast, there's still something here you should see." Art helps to enlarge and to deepen our experience. I can't think of a better example of this than the painter Charles Burchfield, an artist who loved to leave the well traveled path and find subjects in the unlikely and unexpected places. The sounds of nature fired up his imagination.  Burchfield Penney Art Center has an exhibition organized by Curator Nancy Weekly on just this topic- Birdsong: Audio-visual  Art by Charles Burchfield , but it ends soon- Nov. 29, 2020. Here's a link to the museum's page on the exhibition. It's odd how birds, while so ever present when we walk outside are notable by their absence in most of American art histor

  A few years ago one of our neighbors found a stray cat and brought it home. They named her Dawn. She was happy to be fed and petted by them which they did on a somewhat regular basis, but she stayed pretty thin. They also discovered she insisted on staying outside as much as possible. These neighbors abruptly moved away and left the cat behind. We were dismayed.  Dawn has made a few friends in the neighborhood and some of us started leaving food and water out for her.  Then we got a serious blast of winter wind and cold.  I couldn't stop thinking about Dawn spending her nights outside.  I have cat allergies or I would have attempted to bring her in to our house. Online I found an inexpensive electrically heated outdoor cat shelter. I bought it and set the thing up in our front yard. Dawn refused to have anything to do with it for the first two days, but the next morning I came home and found her furry behind sticking out of the shelter's door.  To say she's moved in and m

Philip Koch, Cape Cod Morning, oil on canvas, 33 1/2 x 50 inches, 1994 The Cedar Rapids Museum of Art in Iowa is commemorating its 125 anniversary with a feature exhibition 125! 125 Masterworks from the Collection (through Jan. 17, 2021). Sean Ulmer, the museum's Director  let me know my painting Cape Cod Morning is included in the Masterworks  exhibition.  It's a huge honor to me to be hanging alongside some heavy hitters from the museum's permanent collection including Grant Wood, Henry Ossawa Tanner and Lucas Cranach the Elder. How my painting came to be is something of a "throw caution to the wind" tale.  On the main highway that runs the length of Cape Cod there's a particularly intriguing building that housed a bank. Back in  the '90's was painted a subtle yellow color I just loved. The trouble was I like to paint from direct observation rather than photographs, and the best point of view of the house was right in the middle of the busy highway.

Edward Hopper, Rooms by the Sea , oil on canvas, 1951, Yale University Art Gallery One of Edward Hopper's best known paintings is Rooms by the Sea that was based on his studio in Truro, MA. Its mysterious doorway leading to the ocean captivates our eye.  Did you ever wonder what the room through the painting's other doorway looked like? Last week a collector asked to see some of the drawings I made during my residencies in the historic studio so I photographed this drawing. Philip Koch,  Edward Hopper's Truro Bedroom: Afternoon  Sunlight , vine charcoal, 9 x 12 inches, 2012. To make the drawing I set up my French easel in the bedroom Hopper shared with his wife Jo for the three decades they lived in the studio. One of the room's two small closets centers the drawing. At the right is the doorway leading into Hopper's big painting room with his studio easel in the distance.  What inspired me to make the drawing were the intense patterns the afternoon sunlight made ove

Charles Burchfield, North Wind in March, watercolor, 47.5 x 59.5 inches, 1960-66. Ogunquit Museum of American Art When I first saw Charles Burchfield's paintings as a young art student I didn't like them at all. To my teenage eyes Burchfield's landscapes seemed cartoon-like and childish. It didn't help that he had lived in Buffalo, NY. I was from the next town over, Rochester, and wanted nothing more than to see myself as fully grown and sophisticated. Burchfield reminded me of everything I was desperate to leave behind.  Leaving home to go off to college opened a new world to me. Most exciting of my discoveries was modern art. I decided to become a painter, and early on worked abstractly under the influence of Minimal Art and Color Field Painting.  Burchfield seemed to go just the opposite way. Most of his strongest work is of his little hometown. He found there aspects we either overlook or outright fail to imagine. Somehow his art becomes a vehicle that take us to a

  Paintings are inanimate objects I know. But sometimes lying in bed at  night I think I almost hear some whispering downstairs in my studio. Making paintings is like nurturing your houseplants as it can't be rushed. You have to take as long as needed to complete a painting.  Above is my studio this morning with the two easels I always have  side by side. On the right is Turret House, Nyack , oil on panel, 9 x 12 inches. It was begun in 2015. I worked on it on and off until summer of 2020 when I was finally satisfied it was saying what it needed to say. The painting's sort of a proud veteran who went through lots of changes before it was done.  On the left is a new oil that's just getting started. It has an even longer history- it's based on a tiny oil I painted on the coast of Maine in 2009. Still in its infancy this new oil faces growing pains and uncertainties before it comes into its own. I know I'm projecting but I imagine a painting at this stage would be feel

  Philip Koch, Returning , oil on canvas, 28 x 42 inches, 2020   Don’t you find certain places find their way into your memory and remain a vivid picture there. Sometimes you can feel like you’ve slipped back in time and are there once again. This old farm house was near my studio in Baltimore. I wanted to paint it the moment I saw it, partly because of its cherry red exterior. But also because it felt instantly familiar. It strongly reminded me of the little forest house I used to stand in front of to wait for the school bus.  My town was rur al then. Some school years I’d wait with one or two other kids. Other years the bus would stop there just for me. The bus had a long route to cover and often would be 20 minutes or a half hour lafe. But this rarely bothered me as that house was a magical setting- once formal gardens that were now overgrown. It all was beautiful and just a bit haunted in the best way. I like to think memory like this guides my paintbrush.

Edward Hopper, Mrs. Scott's House, oil on canvas, 34 1/4 x 50 1/8 inches, 1932, Maier  Museum of Art at Randolph College, Lynchburg, VA I don't usually start a painting with another artist's painting in mind. My new canvas below however owes a big debt to Hopper's oil Mrs. Scott's House  that's in the collection of the Maier Museum of Art at Randolph College in Lynchburg, VA. Edward Hopper and his wife Josephine first stayed on Cape Cod in the summer of 1930. For the next several summers they explored the land out near the very end of Cape Cod's peninsula.  Famously private, I suspect he liked how few people there were in the remote town of Truro.  One striking painting that resulted from this searching was Mrs. Scott's House  seen above.  Hopper was always drawn to paint big, solid volumes illuminated by brilliant sunlight. He must have loved the stark contrast of the massive and nearly bare dunes against the small but stubbornly upright house. As confl

\ Fathers' Day Observation:  We parents learn from and are changed by our children. Evidence of this crops up all the time but somehow when it does I'm always a little surprised.  The photo above is what greeted me as I walked into my studio this morning.  On the right is my painting from 2019, The Dawn,  oil on panel, 18 x 36 inches. It's a view inspired by the coast of Maine. I was very happy with it. Enough so that I resolved to recreate it on a more grand scale.  I figured it would be a simple enough job to work up the smaller oils basic composition on the 56 inch canvas at the left.  It's at times like this when you think you know where you're going that painting delights in telling you "Not so fast." One evening last week I glanced at the paintings on the two easels in the mirror I keep in my studio. Unexpectedly it struck me that  I much preferred the lighter tones in the sky and water in the unfinished larger canvas. Before making any r

Philip Koch, Morning at the Route 6, Eastham House, oil on  canvas, 30 x 60 inches, 2017, Swope Art Museum,  Terra Haute, IN For sometime I had wanted to make a painting of the farm buildings on Cape Cod that the painter Edward Hopper immortalized in his oil Route 6, Eastham that is at the Swope Art Museum  in Indiana. The source is right on the main highway that runs through the town of Eastham. Unlike the open space Hopper saw, it's now tightly ringed by evergreens. Edward Hopper, Route 6, Eastham, oil on canvas, 1941,  Swope Art Museum, Terra Haute, IN Much as Hopper has inspired me, I wanted to do a painting that would stand on its own, free from his long shadow. So instead of jumping right in I took more time than usual imagining different ways I might proceed. It required a balancing act, navigating my way between borrowing too much from Hopper and the need to deal with all those obstructing trees. Philip Koch, Study for Morning at the Rte

Peter Paul Rubens, The Finding of Erichthonius, oil  on  canvas, 1632, Allen Memorial Art Museum,  Oberlin, OH Allen Memorial Art Museum in Oberlin, OH invited alumni to tell how work in its collection had impacted them. Their collection proved to be an amazing teacher. The big lesson I learned is to take exquisite care about how I go about telling a story with my painting. Yesterday the museum posted my reminiscence on its Facebook page. Here's what I wrote:  The temptation is always to run straight towards your goal. Sometimes that works, but often it leaves you wide of the mark, especially in art. This lesson hit me over the head when I was just starting out as a painter when I was a studio art major at Oberlin. The Allen Memorial Art Museum has the most remarkable and troubling painting by the 17th-century artist Rubens, 'The Finding of Erichthonius,' from 1632. I saw it almost daily and I was always a little creeped out by it. Its subject involves the find

Philip Koch, Spring Frontyard, oil on canvas, 45 x 60 inches, 1989, Washington County Museum of Fine Arts, Hagerstown, MD The Washington County Museum of Fine Arts in Hagerstown, MD is running a series of art lessons for children using images of works in the Museum's permanent collection. Kellie Mele, who directs the WCMFA's Education Dept. originated what she calls the Art A Day Challenge and yesterday (by coincidence my birthday!) built a lesson around my large painting in their collection, Spring Frontyard. Here's a link  to the Challenge. Spring Frontyard  is a major studio painting I made based on a smaller oil painted on location in my neighborhood in Baltimore. I grew up in a new "California Modern" style home but coming across this older white house I fell into a fantasy if what it might be like to have grown up there. My childhood home was  in a deep forest. I chose a point of view that similarly sandwiched the painting&#

The Roof , oil on canvas, 20 x 14 inches, 1980. Sitting at our dining room table yesterday my wife looked up and remarked about three of the four oils I had just hung on walls. "They're all pictures of home" she exclaimed. This hadn't been my plan, I just pulled out canvases that I felt like looking at. Truro Kitchen, oil on canvas, 40 x 30 inches, 2018. But I had to admit she was right. Without realizing it I had selected paintings of houses I'd like to live in. Places where I'd feel safe. In this time of a frightening virus, my unconscious was guiding my selections. In Truro Kitchen above the painting shows the tiny kitchen Edward Hopper designed for himself on Cape Cod. In the morning sunlight it's amazingly cozy- the kind of place we'd all like to be just now. Houses on the Hill II, oil on canvas, 30 x 24 niches, 2020 We carry with us through our adult lives a sense of "how things are supposed to be&

Philip Koch, Edward Hopper's Parlor, Nyack, oil on canvas, 32 x 24 inches, 2020 (at Somerville Manning Gallery, Greenville, DE) You know things are bad right now.  Something I've learned from decades of making art is as I develop my painting somewhere I'm going to hit a roadblock.   It's not fun to have to let go of your plans. But I try out some alternative solutions. Pretty soon something works. In our personal lives having difficulty hit you over the head can hurt. If you don't let that pain blind you often that sharp collision scatters a few sparks of opportunity.  With your normal routine upended you have a chance to look at things with fresh eyes. Here are two of my paintings. At first they look unrelated. The interior above is an oil of the artist Edward Hopper's boyhood home. The living room has heavy wooden planks for floorboards that were layed down in the 19th century. They show they've been scuffed and gouged over the y

I was turning out the lights for the night last evening in my studio a half hour before it became 2020 and memorialized the moment with a photo. We're supposed to be celebrating new beginnings but on my easels are two paintings that are about looking back.  Sometimes when you can brush the dust off a memory you see its glow is brighter than you had remembered. On the left is new version of an all time favorite oil that had been damaged in transit and now belongs to a collector (see the last image in this post). I was at the collector's holiday partly last week and seeing the painting for the first time in years. Despite some cracks in its surface it looked even better than I remembered it. I was surprised how much I missed the painting. Woke up the next morning and realized I needed to paint a new version of it.  Other times something that was never quite resolved from the past calls for you to fix it. On the easel on the right is my a canvas  From Day to Night. T he