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Artist's Statement

True Cadmium Orange is the first layer of paint on my canvas. Look closely and you see it gleaming through translucent passages of paint that only partly obscure. You will also find it glittering in the voids between brush strokes that create the painting. On snowy mountains, orange glows even brighter, being the perfect complement to the blues of glacier ice.

It is the color of drying conifer needles before they fall. Lichen, found on ancient mountain rocks, is often of this same hue. Subtle orange appears as salmon eggs and ripe cloud berries. Vibrant orange is the color of glowing embers of campfires and the setting sun. All shades of orange express the dancing energy of life.

Rosemary S. Antel, 2013

Artist's Bio

Born in Pittsburgh, Pennsylvania in 1942, Rosemary Antel roamed the ravines and forests of the mountains while growing up. She was encouraged in her art by her mother and started painting at an early age. She moved to Seattle, Washington in 1967 and roamed these bigger mountains as a backpacker, skier and climber, taking watercolors and camera along to capture the beauty she saw. When she moved to Alaska in 1977 she added traveling by small boat to her pastimes and continued painting on location every chance she got.

While living in Alaska she seriously studied the Northwest Coast formline art, taking classes with Nathan Jackson and visiting sites and museums with carvings to be studied. After returning to Seattle in 1989, she continued her study with Scott Jensen here in Washington. In 2000 she took a trip on a 65 foot boat to visit cultural sites on the Central Coast of British Columbia that emphasized formline art. She also painted watercolors of the scenery as she traveled through it. She has often traveled to Vancouver in Canada to see more formline art and also the work of great Canadian artists such as the Group of Seven and Emily Carr. She has also traveled as far as Sweden to see Anders Zorn's work and more of the Scandinavian Impressionists and to Spain and New York, NY to see the work of Joaquin Sorolla and study his use of color. She spent a month in Paris to study Bonnard for color and to make a copy of one of his works in a museum as a means of absorbing his color sense. She also studies the color use of Wolf Kahn and Stephen Quiller.

It is this continuing study of Northern art and the practice of painting on location that have resulted in refining her style to emphasize the shapes. In 2003, her work was featured in an 8 page article in Watercolor, An American Artist Publication. This encouraged her to rent a large, high ceiling studio to enable her to paint larger work. She feels that Nature is too grand to confine to a small canvas. Now she is producing work that is large enough in scale to envelope the viewer in the experience, to better replicate what she feels when she confronts the landscape. As always, it is the transmission of her experience to the viewer of her art that is most important to her. She paints her soul's exaltation when she records the natural world on canvas.