Linda Whynman
Linda Whynman moved to San Miguel de Allende over 16 years ago from New York. She has been involved in art and art education for her entire professional career. She taught art from kindergarten level to Masters Degree programs. She was also the Arts in Education Director in New York State. Her areas of media expertise include watercolor and computer graphics.
She has designed books for several authors and her paintings are represented in galleries and homes from the East Coast of the US to Mexico.
Watercolor is my medium of choice. I enjoy the interplay of pigments on the texture of the paper and letting the materials work in their natural state. When I’m sketching and painting, I am fully present in the moment. It is a deeply pleasurable and creative experience. It keeps me centered. Then, later on, when I look at a painting I have completed, I remember all the sounds, the temperature, the people who passed by, and the entire plein aire experience. This process has helped me to love Mexico even more. The colors and vistas and the people of Mexico are a plethora of painting options.
In addition to showing at Galeria Obraje, Whynman is represented by Galeria SanFrancisco in Fabrica Aurora.
Bill Morrow
Bill retired from a successful career as a waterfront foreman loading and discharging ships in North Vancouver, Canada in 2014. He is now retired in San Miguel de Allende.
His detailed ink and pencil drawings, watercolours and oils are in collections throughout Mexico, Canada, Europeans the US. His artwork reflects a wide range of architectural and landscape diversity.
Bill’s desire is to immerse the viewer in the scene with the in-depth details.
Bill Morrow
Bill se retiró de una carrera exitosa con un cargo de capataz de la línea de costa de los barcos que descargan en Vancouver Norte, Canadá en 2014. Ahora está retirado en San Miguel de Allende.
Sus dibujos detallados de tinta y lápiz, acuarelas y aceites se encuentran en colecciones en todo México, Canadá, Europa y los EEUU. Su obra refleja una amplia gama de diversidad arquitectónica y paisajistica.
El deseo de Bill es sumergir al espectador en la escena con los detalles en profundidad.
Bill Morrow
Bill retired from a successful career as a waterfront foreman loading and discharging ships in North Vancouver, Canada in 2014. He is now retired in San Miguel de Allende.
His detailed ink and pencil drawings, watercolours and oils are in collections throughout Mexico, Canada, Europeans the US. His artwork reflects a wide range of architectural and landscape diversity.
Bill’s desire is to immerse the viewer in the scene with the in-depth details.
Bill Morrow
Bill se retiró de una carrera exitosa con un cargo de capataz de la línea de costa de los barcos que descargan en Vancouver Norte, Canadá en 2014. Ahora está retirado en San Miguel de Allende.
Sus dibujos detallados de tinta y lápiz, acuarelas y aceites se encuentran en colecciones en todo México, Canadá, Europa y los EEUU. Su obra refleja una amplia gama de diversidad arquitectónica y paisajistica.
El deseo de Bill es sumergir al espectador en la escena con los detalles en profundidad.
Bill Morrow
Bill retired from a successful career as a waterfront foreman loading and discharging ships in North Vancouver, Canada in 2014. He is now retired in San Miguel de Allende.
His detailed ink and pencil drawings, watercolours and oils are in collections throughout Mexico, Canada, Europeans the US. His artwork reflects a wide range of architectural and landscape diversity.
Bill’s desire is to immerse the viewer in the scene with the in-depth details.
Bill Morrow
Bill se retiró de una carrera exitosa con un cargo de capataz de la línea de costa de los barcos que descargan en Vancouver Norte, Canadá en 2014. Ahora está retirado en San Miguel de Allende.
Sus dibujos detallados de tinta y lápiz, acuarelas y aceites se encuentran en colecciones en todo México, Canadá, Europa y los EEUU. Su obra refleja una amplia gama de diversidad arquitectónica y paisajistica.
El deseo de Bill es sumergir al espectador en la escena con los detalles en profundidad.
Richard Huntington
Probably the best word to describe my art is “hybrid.” I like to mix the unmixable – rock and Bach, sandals and socks, cats and water. I draw upon multiple sources, taking images from art history, cartoons and found images of various sorts. The mix can be incongruous. A cartoon figure can crop up next to a piece of an old master painting; a folk-art Madonna can be found huddled among abstract de Kooning shapes.
Sometimes the references are covert: you have to solve the mystery from titles or clues within the picture. This is often the world of parody. For instance, I did a series that uses the cozy cottages and garden scenes of the horribly saccharine painter Thomas Kinkade. You might not get the parody, but I’m satisfied that it’s in there somewhere, the thing that gave me a reason to paint the painting.
Other times I treat seriously things that are not normally taken as serious. I did cartoony “portraits” of Joe E. Brown, a strange-looking comedian from the mid-20th century. A group of self-portraits takes the form of memorializing busts, those disembodied heads of famous people that you see everywhere.
Overall, it’s mostly comedic with hints of the tragic wafting through at unexpected moments. I take it all very seriously.
Richard Huntington is a writer, printmaker, and painter who divides his time between Buffalo, N.Y. and San Miguel de Allende, Gto. Born in Albany, N.Y. in 1936, Huntington received a BFA from Syracuse University in 1959 and an MFA in 1963. He is Art Critic Emeritus at The Buffalo News and the author of a yet-to-be-published novel called “An Art Critic Walks Into a Bar.” His art has been in numerous exhibitions in the U.S. and abroad.
Richard Huntington
Probably the best word to describe my art is “hybrid.” I like to mix the unmixable – rock and Bach, sandals and socks, cats and water. I draw upon multiple sources, taking images from art history, cartoons and found images of various sorts. The mix can be incongruous. A cartoon figure can crop up next to a piece of an old master painting; a folk-art Madonna can be found huddled among abstract de Kooning shapes.
Sometimes the references are covert: you have to solve the mystery from titles or clues within the picture. This is often the world of parody. For instance, I did a series that uses the cozy cottages and garden scenes of the horribly saccharine painter Thomas Kinkade. You might not get the parody, but I’m satisfied that it’s in there somewhere, the thing that gave me a reason to paint the painting.
Other times I treat seriously things that are not normally taken as serious. I did cartoony “portraits” of Joe E. Brown, a strange-looking comedian from the mid-20th century. A group of self-portraits takes the form of memorializing busts, those disembodied heads of famous people that you see everywhere.
Overall, it’s mostly comedic with hints of the tragic wafting through at unexpected moments. I take it all very seriously.
Richard Huntington is a writer, printmaker, and painter who divides his time between Buffalo, N.Y. and San Miguel de Allende, Gto. Born in Albany, N.Y. in 1936, Huntington received a BFA from Syracuse University in 1959 and an MFA in 1963. He is Art Critic Emeritus at The Buffalo News and the author of a yet-to-be-published novel called “An Art Critic Walks Into a Bar.” His art has been in numerous exhibitions in the U.S. and abroad.
Richard Huntington
Probably the best word to describe my art is “hybrid.” I like to mix the unmixable – rock and Bach, sandals and socks, cats and water. I draw upon multiple sources, taking images from art history, cartoons and found images of various sorts. The mix can be incongruous. A cartoon figure can crop up next to a piece of an old master painting; a folk-art Madonna can be found huddled among abstract de Kooning shapes.
Sometimes the references are covert: you have to solve the mystery from titles or clues within the picture. This is often the world of parody. For instance, I did a series that uses the cozy cottages and garden scenes of the horribly saccharine painter Thomas Kinkade. You might not get the parody, but I’m satisfied that it’s in there somewhere, the thing that gave me a reason to paint the painting.
Other times I treat seriously things that are not normally taken as serious. I did cartoony “portraits” of Joe E. Brown, a strange-looking comedian from the mid-20th century. A group of self-portraits takes the form of memorializing busts, those disembodied heads of famous people that you see everywhere.
Overall, it’s mostly comedic with hints of the tragic wafting through at unexpected moments. I take it all very seriously.
Richard Huntington is a writer, printmaker, and painter who divides his time between Buffalo, N.Y. and San Miguel de Allende, Gto. Born in Albany, N.Y. in 1936, Huntington received a BFA from Syracuse University in 1959 and an MFA in 1963. He is Art Critic Emeritus at The Buffalo News and the author of a yet-to-be-published novel called “An Art Critic Walks Into a Bar.” His art has been in numerous exhibitions in the U.S. and abroad.
