VERO BEACH

JOHN PHILLIP OSBORNE

"Fly Fishing Under The Great Sky Of The West"
"Fly Fishing Under The Great Sky Of The West"

18" x 20" Oil on Linen

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SOLD "Days At Vero"
SOLD "Days At Vero"

20" x 24" Oil on Panel

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"Lake Placid"
"Lake Placid"

20" x 40" Oil on Linen

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

12" x 20" Oil on Linen

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"Peony Bouquet"
"Peony Bouquet"

16" x 12" Oil on Linen

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"Evening"
"Evening"

22" x 30" Oil on Linen

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

17" x 11" Oil on Paper

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

6" x 8" Oil on Panel

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"Newfoundland Bay"
"Newfoundland Bay"

18" x 20" Oil on Linen

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"Newfoundland Harbor"
"Newfoundland Harbor"

6" x 8" Oil on Panel

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"On the Acropolis"
"On the Acropolis"

20" x 14" Graphite & Brush

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

8" x 11" Graphite & Brush

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

16" x 20" Oil on Linen

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

9" x 11" Oil on Linen

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"Self Portrait"
"Self Portrait"

24" x 22" Oil on Linen

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

7.5" x 11.5" Graphite & Brush

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

8" x 12" Sepia Chalk

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"The English Countryside"
"The English Countryside"

40" x 60" Oil on Linen

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

Benjamin Franklin Oil on canvas, 11" x 9"

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"Beach on Santorini"
"Beach on Santorini"

Oil on canvas, 30" x 36"

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

Oil on canvas, 16" x 22"

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"Bruges"
"Bruges"

Sepia chalk, 8" x 12"

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

Oil on panel, 36" x 48"

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

Delphi Oil on canvas, 16" x 18"

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"Santorini"
"Santorini"

Oil on canvas, 9" x 12"

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

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

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

Oil on canvas, 14" x 20"

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"Windmill on Santorini"
"Windmill on Santorini"

Oil on canvas, 28" x 30"

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

Oil on linen, 40" x 60"

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

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

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

Pen & Ink, 7" x 11"

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

Oil on linen, 36" x 24"

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

Oil on linen panel, 16" x 18"

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"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.

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

Oil on linen, 22" x 24"

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"Millet's Studio, Barbizon"
"Millet's Studio, Barbizon"

Oil on linen, 12" x 16"

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"St. Boniface Bridge, Brugge"
"St. Boniface Bridge, Brugge"

Oil on panel, 18" x 20"

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"Summer Cottage"
"Summer Cottage"

Oil on linen, 28" x 30"

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"Quidnet"
"Quidnet"

Oil on panel, 16" x 20"

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"Trail to the Indian River"
"Trail to the Indian River"

Oil on linen, 36" x 24"

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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."