Some Pretty Landscapes by Joseph DiGiorgio available from LewAllen Galleries.

Continuing the celebration for Earth Day/Month I am very familiar with many styles of living in the Hamptons. The featured landscapes below by Joseph DeGiorgio are presented by LewAllen Galleries, in  Santa Fe. I find the approach to life style overrides local for the first time. These works are lovely containing the presence of natures calming effect seen by the  viewer.  Very interesting for me aas Jamie Forbes, Publisher, fineartmagazineblog.blogspot.com, and sunstormfineartmagazine.com  View in a Room: Joseph DiGiorgio Joseph DiGiorgio, Oregon Series #95-14, 1995, oil on canvas, 54 x 42 Experience the works of Joseph DiGiorgio: New American Lyrical Landscapes, in an exhibition currently on view through May 9th. Examples of their luminous beauty in room settings are found in the images included below. Joseph DiGiorgio, Untitled #98-2, 1998, oil on canvas, 42 x 54 in Joseph DiGiorgio (1931–2000) dedicated his landscape painting practice to a profound reconception of the natural world through a signature and meticulous atomized mark-making technique. He termed this a "modular dash"—the use of countless rhythmic dots he used in place of brush strokes. These transcended the imprecise categorization of Neo-Pointillism out of which he constructed an idyllic universe where the landscape is a site for exciting new psychological and spiritual inquiry.

Joseph DiGiorgio, Oregon Series #94-15, 1994, oil on canvas, 59.75 x 71.75 in Joseph DiGiorgio, Untitled (diptych), n.d., oil pastel on paper, 29.5 x 82 Joseph DiGiorgio, Untitled, n.d., oil on canvas, 42 x 54 in

When contemplated within a personal space, these works become profound, hand-built visual sanctuaries. The density of his particulate marks creates a visual vibration that demands active engagement, functioning less as a static record and more as a window into a living world. To stand before these canvases is to be suspended in a moment of pure color and light, where the landscape is rendered eternal. Joseph DiGiorgio, Untitled #84-7 (triptych), 1984, Oil on canvas,72 x 146 in DiGiorgio’s legacy is assured by his inclusion in over forty major museum collections. Joseph DiGiorgio, Oregon Series #95-16, 1995, oil on canvas, 42 x 54 in View More Work by Joseph Digiorgio

©2026 LewAllen Galleries | Artwork ©The Estates of the Artist Pictured

LewAllen Galleries 1613 Paseo de Peralta Santa Fe, NM 87501 505.988.3250 Mon - Fri  10 - 6 / Sat 10 - 5 Inquire #lewallengalleries#Joseph DiGiorgio artists#fineartmagazineblog.blogspot.com#sunstormfineartmagazine.com,artfunforever, eco-artcelebratesnature

Lew Allen Gallery feature of the week: Noted color field painter Dan Christiansen.

Dan Christensen, Untitled, 1988, acrylic on canvas, 12 x 59 in FEATURE OF THE WEEK Dan Christensen (1942–2007) is widely recognized as one of America’s foremost color abstractionists. A master innovator at the center of important developments in American abstract painting, he was a key figure in "Post-Painterly Abstraction," constantly inventing new visual languages such as his acclaimed "ribbon" and "loop" paintings, and credited with helping to “save” painting at a time when many in the art world were proclaiming its premature “death.” Born in Cozad, Nebraska, he achieved spectacular success early in his career, including two Whitney Biennials before the age of 26 and major awards. The great critic Clement Greenberg anointed him in 1990 as “one of the painters on whom the course of American art depends.” The work Untitled, 1988 is a prime example of his later Spray series (1988–1994). This compelling horizontal composition showcases Christensen’s remarkable fluency with color and form. In this work, Christensen uses a spray gun to create soft, shimmering, and deliberately blurred lines that loop and swirl across the canvas, reminiscent of his earliest acclaimed works when his use of the spray gun as an alternative way of applying paint to a canvas was heralded as being as innovatively pioneering as Pollock’s splatters and drips before him. The overall effect of the colored lines against the background continues his exploration of the Color Field movement's emphasis on luminous color.

MORE FROM DAN CHRISTENSEN Dan Christensen, Bend Two, 1978, acrylic on canvas, 53 x 81 in Dan Christensen, Blue Clover (detail), 1990, acrylic on canvas, 46.5 x 78.5 in Dan Christensen, Untitled, 1978, acrylic on canvas, 57 x 59 x 1 in

The composition embodies what Christensen described as "the harmonious turbulence of the universe," with the lines appearing to spin, pulse, or float in a cosmic atmosphere. This work is a testament to the artist's continuous experimentation with technique and his mastery of manipulating paint to create vibrant, energetic, and visually complex abstract compositions.  Christensen’s work is included in numerous public collections, including the Guggenheim, the Whitney Museum of American Art, the Metropolitan Museum of Art, the Museum of Modern Art in New York, and the Art Institute of Chicago, among many others.

PREVIOUS FEATURES OF THE WEEK DIRK DE BRUYCKER Surrender Inquire about work BRIAN RUTENBERG Pholx 3 Inquire about work

Dirk de Bruycker, Surrender (detail), 2015, 84 x 72 in Brian Rutenberg,​ Phlox 3 (detail), 2016, oil on linen, 82 x 60 in   ©2026 LewAllen Galleries | Artwork © The Estates of the artists pictured

LewAllen Galleries 1613 Paseo de Peralta Santa Fe, NM 87501 505.988.3250 Mon - Fri  10 - 6 / Sat 10 - 5 Inquire   #lewallengallery#danchristiansenartists#sunstormfineartmagazine #fineartmagazineblog.blogspot