Medium
Signature
Titled lower left: 'STUDY FOR BLUE OCEAN FIELD VII' Signed and dated lower right: C. Smith 2010
Image rights
Image Courtesy of the Gerald Peters Gallery, Santa Fe, New Mexico.

Clifford Smith was motivated by the desire to “get beyond the physical essence of something” and to produce works that “parallel nature rather than imitate it.” Smith, who considered himself a realist painter, is known for his urban and rural landscapes and for his "Ocean Field" paintings, a series he began in the 1990s that features closely cropped views of ocean waves. He rendered his subjects in a blurred or tilted manner, aiming to replicate the eye’s perspective as it passes by fleeting scenes. His other recurring subjects include studies of roads and beach landscapes that include a female’s head seen from behind. Smith cites Caravaggio, John Constable, Rackstraw Downes, Frank Stella, and Gerhard Richter as artistic influences.

Study for Blue Ocean Field VII, 2010

Oil on Paper
24 × 34 in
61 × 86.4 cm
Contact for Price
Location
New York, Santa Fe
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Medium
Signature
Titled lower left: 'STUDY FOR BLUE OCEAN FIELD VII' Signed and dated lower right: C. Smith 2010
Image rights
Image Courtesy of the Gerald Peters Gallery, Santa Fe, New Mexico.

Clifford Smith was motivated by the desire to “get beyond the physical essence of something” and to produce works that “parallel nature rather than imitate it.” Smith, who considered himself a realist painter, is known for his urban and rural landscapes and for his "Ocean Field" paintings, a series he began in the 1990s that features closely cropped views of ocean waves. He rendered his subjects in a blurred or tilted manner, aiming to replicate the eye’s perspective as it passes by fleeting scenes. His other recurring subjects include studies of roads and beach landscapes that include a female’s head seen from behind. Smith cites Caravaggio, John Constable, Rackstraw Downes, Frank Stella, and Gerhard Richter as artistic influences.

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