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Henry Isaacs pants and draws what is in front of him. Rarely does Isaacs work on a landscape away from the actual site, or from the figure away from the model. Isaacs' subjects are the hills, pastures, villages and towns of Vermont, the coasts of Maine and California, the Rocky Mountains from Idaho to Colorado, the Appalachians from Maine to Georgia, the high deserts of the Southwest, and the swamps and meadows of the Southeast. Henry Isaacs says that he often feels quite fortunate to be a painter, and that for him, landscape painting is simply an excuse to be outside in spectacular countryside. Isaacs wants people who see these pictures to understand a little of what he was feeling when he was standing next to a frozen pond or looking across a town field. This idea is so connected to Henry Isaacs' being in the middle of his subject that it feels peculiar for him to work anywhere else.
Henry Isaacs usually works slowly, building from a general composition lightly defined by line, adding the darkest darks and the brightest highlights, painting these darker and brighter than anything possible. Softening and subtleties come later; sometimes the original colors stay, sometimes not. Selections of detail, texture, movement, shape and form are often glued together in Isaacs' canvases with the light he observes.
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