William Berra (1952) is an American painter of landscapes, figures, and still life. He is represented by galleries throughout the United States and his work is in many public and private collections. Berra has appeared in over 40 solo and group shows. William Berra lives in the foothills of the Sangre de Cristo Mountains north of Santa Fe with his wife, Alanna Burke, who is his business partner and a frequent model in his paintings.
Berra spent the 1980s primarily painting Northern New Mexico en plein air. He was influenced by the Macchiaioli painters of 19th century Italy, precursors to the French practitioners of Impressionism, and he experimented with techniques to achieve their effects. One technique was that of painting on a board shellacked with an orange base. The undercoating generally warms the painting, showing through where oil paint is applied sparingly. He also placed "complementary hues side by side for maximum visual vibration."
In the 1990s, Berra began to spend more time painting in the studio, developing material gathered in plein air sketches and photographs. He expanded his horizons and his subject matter, traveling and painting landscapes in Europe, Hawaii, and throughout North America. Italy became a favorite subject. In one project, Berra spent time in Rome seeking out views painted in the mid-19th century by a favorite artist, Jean-Baptiste-Camille Corot, and other plein air painters of Grand Tour subjects. The paintings from this project were the subject of a solo exhibition in 2001.
Berra also turned his attention increasingly to figurative work. Starting with oil sketches of his wife painted on location in Europe, he developed a style that presents ambiguous figures in abstract, unresolved landscapes. He began an ongoing series of beach scenes that have become increasingly simplified and abstracted in recent years. His nude series presents a female figure either in intimate domestic settings or on utterly abstracted backgrounds.
Berra spent the 1980s primarily painting Northern New Mexico en plein air. He was influenced by the Macchiaioli painters of 19th century Italy, precursors to the French practitioners of Impressionism, and he experimented with techniques to achieve their effects. One technique was that of painting on a board shellacked with an orange base. The undercoating generally warms the painting, showing through where oil paint is applied sparingly. He also placed "complementary hues side by side for maximum visual vibration."
In the 1990s, Berra began to spend more time painting in the studio, developing material gathered in plein air sketches and photographs. He expanded his horizons and his subject matter, traveling and painting landscapes in Europe, Hawaii, and throughout North America. Italy became a favorite subject. In one project, Berra spent time in Rome seeking out views painted in the mid-19th century by a favorite artist, Jean-Baptiste-Camille Corot, and other plein air painters of Grand Tour subjects. The paintings from this project were the subject of a solo exhibition in 2001.
Berra also turned his attention increasingly to figurative work. Starting with oil sketches of his wife painted on location in Europe, he developed a style that presents ambiguous figures in abstract, unresolved landscapes. He began an ongoing series of beach scenes that have become increasingly simplified and abstracted in recent years. His nude series presents a female figure either in intimate domestic settings or on utterly abstracted backgrounds.
Mr William Berra |
After the Storm © 2017, William Berra |
Another Adjustment © 2017, William Berra |
At the Uffizi, Florence © 2017, William Berra |
Campo San Zuccaria © 2017, William Berra |
Chapel East of Pienza Tuscany © 2017, William Berra |
Church at Picuris © 2017, William Berra |
Cloud Study © 2017, William Berra |
Column of St. Theodore © 2017, William Berra |
Curious Finches © 2017, William Berra |
Discovery © 2017, William Berra |
Dusk In the Forum © 2017, William Berra |
Enchanted © 2017, William Berra |
Evening Mist, Venice © 2017, William Berra |
Fields in Nambe, New Mexico © 2017, William Berra |
First One In © 2017, William Berra |
Fresh Day, Lake Como © 2017, William Berra |
Golden Morning, Venice © 2017, William Berra |
Heading Back © 2017, William Berra |
Marina Piccola © 2017, William Berra |
Midday Ride © 2017, William Berra |
Misty Morning, Villa La Massa © 2017, William Berra |
Monument Valley © 2017, William Berra |
Oh Beautiful for Halcyon Skies © 2017, William Berra |
Palazzo Ducale, Venice © 2017, William Berra |
Seaside Holiday © 2017, William Berra |
Seaside IV © 2017, William Berra |
Slow Going © 2017, William Berra |
Spring Break © 2017, William Berra |
St. Tropez © 2017, William Berra |
Study for Colors of Santorini © 2017, William Berra |
Study for Lesser Finch © 2017, William Berra |
Study for Tuscan light © 2017, William Berra |
Summertime at the Beach © 2017, William Berra |
Sunday Afternoon © 2017, William Berra |
Swimmer © 2017, William Berra |
Taos Pastures © 2017, William Berra |
The Daydream © 2017, William Berra |
Dive © 2017, William Berra |
Gathering © 2017, William Berra |
The Green Boots © 2017, William Berra |
The Wanderer © 2017, William Berra |
View From Cortona, Morning © 2017, William Berra |
Gravedona, Lake Como © 2017, William Berra |
St. Peter's and Castle © 2017, William Berra |
Villa d'Este © 2017, William Berra |
Winter, New Mexico © 2017, William Berra |
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