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Treasure Island Painting

Jeff Carpenter

United States

Painting, Oil on Canvas

Size: 40 W x 15 H x 1.5 D in

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About The Artwork

This painting shows a spacious white porch flooded with yellow-amber sunlight cutting shadows that make a pattern interacting with the burnt sienna-colored rectangles of the windows on the back wall and other architectural elements that all add up to something like a Mondrian composition. There are stocky, almost square chairs in the foreground painted a teal blue that, along with the shadows of pale cobalt blue/grey from the railings and posts behind us counterpoints the sunlit yellow-amber, and the windows show the reflected sky in yet another shade of blue. There are counter-high planters and two dome-topped trash cans in the middle ground, all in the same white sunlit yellow-amber and the planters have long looping plants in a touch of green. The line-up of sienna windows is interspersed with bright orange-sienna rectangular cork boards mounted on the wall, syncopated 1:2:1:2, then 3 different windows and a final orange sienna rectangle which is a bar counter. This orange-amber is echoed paley in the wooden floor which ties all these elements together, streaked with long shadows from the setting sun. Tucked into a shadowed space behind the middle ground posts, planters and trash cans, are a young boy and a young girl in bathing suits who may be playing or not; it’s not clear what’s up. The girl’s head is turning away; her hair is whirling out into the sunlight.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:40 W x 15 H x 1.5 D in

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Carpenter was born in 1953 in Greenville, Delaware, U.S.A. He studied with the painter Tom Bostelle near home and then went to the Rhode Island School of Design, where he earned a BFA in Film, in 1976. His work has been shown at the Museum of Contemporary Art, Denver, P.S.1, New York, and the Centre Pompidou, Paris. Carpenter's painting style is a cross between old master techniques and expressionism. He makes marks with flicks of a fully-loaded palette knife, but to a precise rendering of hue and tone in a representational image. The image is built up in countless layers of oil glazes, much as Vermeer worked, only in thick impasto. Peeking through the layers are often the transparent traces of a map or poetry. This idea is borrowed from pentimento, the inherent feature of oil paint that, as it dries, it becomes more transparent, revealing what's underneath.

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