![](img/gal1/img1.jpg)
Portraying Delaware and Maryland Eastern Shore marine and agricultural landscapes since 1986
H. Earl Abbott Jr. is a native of Dover, Delaware. He received a BS in Art Education from Delaware State University in 1978 and has been a practicing professional artist since 1986. He specializes in realistically portraying Delaware and Marylands' Eastern Shore marine and agricultural landscape through both plein-air and studio paintings. A yearlong series of plein-air studies of the St. Jones River environment was featured in the Winter 2006 edition of Outdoor Delaware magazine, and an accompanying solo exhibition at the Sewell Biggs Museum of American Art was sponsored by the Delaware Department of Natural Resources and Environmental Control and the First State Heritage Park in Dover.
His work is included in many private and corporate collections throughout the eastern United States including Chesapeake Utilities, The Dupont Corporation, M&T Bank ( formerly Wilmington Trust Bank ), and Delaware State University. He is an associate member of the Miniature Painters, Sculptors & Gravers Society of Washington, D.C. He was a 2001 recipient of a Delaware Division of the Arts Established Professional Individual Artists Fellowship, and he resides, and maintains a studio, in Wyoming , Delaware with his wife Carol.
My approach to painting is a romantic / realistic documentation of primarily central Delaware and Marylands Eastern Shore marine and agricultural landscape. I have watched this change over the past 35 years, due to development from urban growth, the seasonal changes of of the field crops and foliage, and the natural elements of sun, wind, and rain. There are no cars on the roads, and only the minimal appearance of people inhabit my landscapes, and are utilized to give a sense of scale to the composition. Only the buildings or boats represent a human presence. By deliberately removing those human elements which would create immediate action, I am able to freeze time, or at least slow it down considerably, and allow the viewer to feel alone to contemplate the space in front of them.
In many cases the natural flatness of the land, while limiting the visual depth of the painting, forces me to observe the scene with more intimacy and enables me to develop the second element, one of emotion. This is created by the unifying light and atmosphere within the paintings themselves, which I deliberately approach in a somewhat tonalistic manner. To achieve this, I take my sketchbook, paint box, and panel directly into the field in front of the subject where I am free to apply the pigments, realistically as I see them hopefully capturing not only a specific place, but its light and atmosphere as well. With the " field study" completed, and with the aid from my observation notes in my sketchbook I am able to return to my studio to produce a larger version of the painting if I choose.
While this approach is not new, having its roots with Corot and Constable, the uniqueness of both my subject and myself is, and, in these subjects of a limited geographical area, I find both a familiar and limitless variety.
Several years ago I was teaching an adult outdoor painting class when one of my students remarked to me that she "did not see anything to paint". I replied that she really needed to look as there were subjects worth painting all around her. I told her that, as an exercise, I could stand in the same place every day for the rest of my life and paint the same scene each time, and no two would be exactly alike. This series of paintings illustrates that idea. I found a motif in Milford, and returned to paint these 21 different paintings, one per day, over the course of a year. Each time I went back I stood in the same place with the same view, but the seasons, tides, and weather conditions all had changed. I painted what I saw, but at the same time I tried to imagine what the scene would look like under different conditions. I have taken this same approach nearly all of my career, determining a motif then producing a series of paintings exploring and developing that single theme.