As I’ve mentioned before, I run hot and cold on Andrew Wyeth. I’m not particularly fond of the paintings that are generally regarded to be his major works — which tend to be figurative and conceptual, with narrative implications — but I do very much like some of his simple and direct observations of his immediate surroundings in the Brandywine Valley (perhaps partially because I grew up in the area).

These, though sometimes in tempera, are done mostly in sketches and watercolor. They are often dry brush watercolor, and wonderfully textural. Like much of Wyeth’s work, they are in subdued palettes, almost monochromatic, to the point where a blue window frame or red apple comes as something of a shock.

One of the common subjects Wyeth returned to frequently was the depiction of windows, and he sketched and painted many variations on the theme.

An exhibit at the National Gallery in D.C., titled Andrew Wyeth: Looking Out, Looking In explores that aspect of his work.

There is only a brief slideshow of a few works form the show on the museum’s site, so I’ll leave you with a link to a Google image search for “Andrew Wyeth” “windows”, and if you want to know if a piece is in the show, a link to the NGA press page which includes a PDF checklist (right column).

There is a book accompanying the exhibition, also titled Andrew Wyeth: Looking Out, Looking In, but I haven’t seen it, so you’ll have to look for the reviews of others.

Andrew Wyeth: Looking Out, Looking In is on view at the National Gallery in Washington, D.C. until November 30, 2014.

For more see my previous posts on Andrew Wyeth, and here.

Phil Sandusky is a New Orleans based painter who I have featured previously on Lines and Colors. I checked back recently to see that not only has he added recent work to his website, but a new series of prints as well.

Sandusky’s plein air paintings have an appealingly informal, sketch-like feeling, due largely I think, to his interesting approach to delineating many straights a wavering edges. In places, this also gives his sun-dappled images of New Orleans, Atlanta and Jacksonville a feeling of shimmering mid-summer heat.

I particularly find Sandusky’s approach to painting New Orleans refreshing. Where others might look for romanticized views of landmarks and tourist sights, Sandusky looks unblinkingly at the real city, in all its moods and richly varied character.

In addition to his new prints, many of Sandusky’s paintings are available in a series of books, the latest of which is New Orleans Impressionist Cityscapes.

When viewing his website, be aware that what looks like a list of plain text links toward the top of the pages is actually a pop-out menu.

Working in oil, tempera and graphite, California artist Julio Reyes achieves a delicate balance between visceral realism and etherial concept.

In a solo exhibition titled “Vessels” that is on view at Arcadia Contemporary in NYC from tomorrow, November 13 through November 30, 2014, Reyes visits repeated themes of contemplative figures amid metallic balloons, perhaps suggestive of isolation or loss.

In another act of balance, his compositions can be at once spare and filled with richly textural elements, and invoke both stillness and motion.

There is a selection of works from the show here, though that will change when the exhibition closes, and a selection of his work as represented by the gallery here, which should continue to be available. You can also find mentions of the artist and the show on Arcadia’s blog, along with additional images.

Reyes’ own website includes portfolios of his paintings, drawings and sculpture. I particularly enjoy the way his fascination with texture and subdued value contrasts carries over from his paintings to his drawings.

Reyes also has a blog, on which you can find detail crops of some of his works, and photos of shows in which you can see their relative scale.