VERO BEACH

JOHN PHILLIP OSBORNE

"St. Eustatius,1775"
"St. Eustatius,1775"

12" x 20" Oil on Linen

"Lilac Season"
"Lilac Season"

14" x 9" Oil on Panel

"Peony Bouquet"
"Peony Bouquet"

16" x 12" Oil on Linen

"Evening"
"Evening"

22" x 30" Oil on Linen

"Late Afternoon, Bruges"
"Late Afternoon, Bruges"

17" x 11" Oil on Paper

"Mill in the Cotswalds"
"Mill in the Cotswalds"

28" x 36" Oil on Linen

"Mist & Fog, Newfoundland"
"Mist & Fog, Newfoundland"

6" x 8" Oil on Panel

"Newfoundland Bay"
"Newfoundland Bay"

18" x 20" Oil on Linen

"Newfoundland Harbor"
"Newfoundland Harbor"

6" x 8" Oil on Panel

"On the Acropolis"
"On the Acropolis"

20" x 14" Graphite & Brush

SOLD "Orchids & Brass"
SOLD "Orchids & Brass"

14" x 12" Oil on Linen

"Statuary of Delphi, Greece"
"Statuary of Delphi, Greece"

8" x 11" Graphite & Brush

"Rocky Harbor, Newfoundland"
"Rocky Harbor, Newfoundland"

16" x 20" Oil on Linen

"Seaside Village, Ireland"
"Seaside Village, Ireland"

9" x 11" Oil on Linen

"Self Portrait"
"Self Portrait"

24" x 22" Oil on Linen

"Temple of Apollo, Delphi"
"Temple of Apollo, Delphi"

7.5" x 11.5" Graphite & Brush

SOLD Thatching the Cottage, Aran Islands
SOLD Thatching the Cottage, Aran Islands

18" x 24" Oil on Linen

"Upper Slaughter, Cotswalds"
"Upper Slaughter, Cotswalds"

8" x 12" Sepia Chalk

SOLD "Wallonia with Friends"
SOLD "Wallonia with Friends"

22" x 18" Oil on Linen

"The English Countryside"
"The English Countryside"

40" x 60" Oil on Linen

"Procuring the French Alliance"
"Procuring the French Alliance"

Benjamin Franklin Oil on canvas, 11" x 9"

"Beach on Santorini"
"Beach on Santorini"

Oil on canvas, 30" x 36"

"Boatyard at the Vineyard"
"Boatyard at the Vineyard"

Oil on canvas, 16" x 22"

"Bruges"
"Bruges"

Sepia chalk, 8" x 12"

"Cradle of Democracy: The Parthenon"
"Cradle of Democracy: The Parthenon"

Oil on panel, 36" x 48"

SOLD "Lifting Fog, Menemsha"
SOLD "Lifting Fog, Menemsha"

Oil on canvas, 16" x 12"

SOLD "Menemsha Harbor"
SOLD "Menemsha Harbor"

Oil on canvas, 16" x 20"

"Ruins of the Temple of Apollo"
"Ruins of the Temple of Apollo"

Delphi Oil on canvas, 16" x 18"

"Santorini"
"Santorini"

Oil on canvas, 9" x 12"

"The Acropolis at Sunrise"
"The Acropolis at Sunrise"

Brush, oil, and graphite on paper mounted on board, 11" x 14"

"The Mediterranean, Greece"
"The Mediterranean, Greece"

Oil on canvas, 14" x 20"

"Windmill on Santorini"
"Windmill on Santorini"

Oil on canvas, 28" x 30"

"Sunlight on the Beach"
"Sunlight on the Beach"

Oil on linen, 40" x 60"

"Franklin and King Louis XVI"
"Franklin and King Louis XVI"

The French Alliance Oil on linen, 25" x 30"

"Lover's Bridge, Bruges"
"Lover's Bridge, Bruges"

Pen & Ink, 7" x 11"

"Courage in Jockey Hollow"
"Courage in Jockey Hollow"

Oil on linen, 36" x 24"

"Tavern Debates, 1776"
"Tavern Debates, 1776"

Oil on linen panel, 16" x 18"

"Newport"
"Newport"

Rhode Island Oil on linen panel, 8" x 12" The red building on Marlborough St., opened in 1673, is still the White Horse Tavern today and was a a meeting place for the Colony's General Assembly. Serving in the Battle of Rhode Island in 1778, John Glover and his Marbleheaders became known as the "Amphibious Regiment" for their vital nautical skills. They played a crucial role in the war, ferrying Washington and his 2,400 men across the Delaware River in a blinding snowstorm in 1776.

SOLD "Shipbuilding, Portsmouth"
SOLD "Shipbuilding, Portsmouth"

New Hampshire Oil on panel, 8" x 12" The many tidal coves in Portsmouth were conducive for shipbuilding. Here, "Ranger" was constructed for Capt. John Paul Jones to fight the British in 1777. It was also here that Jones' "America" was outfitted, the largest warship built in the nation at that time. The house Jones spent many happy hours in still stands, as does the Wentworth-Gardner House, a powerful family dynasty in colonial New Hampshire.

"Bridge at McKee Gardens"
"Bridge at McKee Gardens"

Oil on linen, 22" x 24"

ARTIST BIOGRAPHY

American, graduated cum laude from Pratt Institute in New York and studied painting with Alban Albert and Arthur Maynard who in turn were from the influence of Frank Vincent DuMond.

"Coming into my thirty-eighth year of painting and teaching, my point of view has not wavered and that is to recreate life on canvas. In doing so, there is a life long study of the infinite effects of light that nature has to offer. The light is always prismatic, no matter what time of day or weather condition. There is always just one light source, whether painting outdoors or indoors in a North-lit studio. I arrange the colors on my palette prismatically and strive to get the prism under control with the subtle atmospheric progression of colors and values. 

Studying the masters, such as George Inness, John Constable, and the French Barbizon painters, I have been able to see what they have shared in common. Now when I go out and paint, I can see beyond the obvious. I am less interested in the fine details and look instead to convey the mood and overall feeling of the moment."