ADDITIONAL WORKS

JOHN PHILLIP OSBORNE

"Autumn Fields"
"Autumn Fields"

Oil on canvas, 28" x 30"

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"North Light Bouquet"
"North Light Bouquet"

Oil on canvas, 20" x 18"

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"Self Portrait in Sepia"
"Self Portrait in Sepia"

Sepia chalk, 9" x 6"

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"Spring Sunlight"
"Spring Sunlight"

Oil on canvas, 36" x 30"

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"Wild Roses"
"Wild Roses"

Oil on canvas, 24" x 30"

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"George in John's Studio"
"George in John's Studio"

Oil on linen, 16" x 20"

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"Fountains and Wisteria"
"Fountains and Wisteria"

Sepia chalk, 10" x 14"

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"Forsythia and Tulips"
"Forsythia and Tulips"

Oil on linen, 22" x 18"

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"New England Pastures"
"New England Pastures"

Oil on linen, 28" x 36"

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"Along the Sanford Farm"
"Along the Sanford Farm"

Oil on linen, 12" x 16"

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"Winter Magic"
"Winter Magic"

Oil on linen, 60" x 90"

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"Sunrise in the Valley"
"Sunrise in the Valley"

Oil on Linen 20" x 30"

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"Sussex Meadows and Sunlight"
"Sussex Meadows and Sunlight"

Oil on linen, 60" x 90"

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"Lily Pads"
"Lily Pads"

Oil on linen, 30" x 48"

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SOLD "Delft"
SOLD "Delft"

Oil on linen, 40" x 60"

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"Portrait of the Artist"
"Portrait of the Artist"

Oil on linen, 30" x 25"

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"Snowshill"
"Snowshill"

Oil on linen, 30" x 40"

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"Wales, from the Cotswolds"
"Wales, from the Cotswolds"

Oil on linen, 40" x 60"

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"English Morning"
"English Morning"

Oil on linen, 14" x 20"

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"Fall Glow, Delaware Water Gap"
"Fall Glow, Delaware Water Gap"

Oil on linen, 60" x 90"

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"Island Beach State Park"
"Island Beach State Park"

Oil on linen, 14" x 18"

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"Lower Slaughter, Cotswolds"
"Lower Slaughter, Cotswolds"

Pen & Ink, 7" x 11"

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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."