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Artist Statement
Each moment is the first, each moment is the last. Capture the light, evanescent.

Favorite Quotes

"Where I place myself is all the same to me; any location is good as long as I have nature before my eyes." Gustave Courbet (1819-1877)

"Man must become refined when he is constantly living before such exquisite pictures…Nature is the great refiner, the poor man’s poet and painter."
Peter Henry Emerson (1856-1936)

"Take a course in good water and air; and in the eternal youth of nature you may renew your own. Go quietly, alone; no harm will befall you." John Muir (1838-1914)

Early Influences
I have long admired the oil paintings of Thomas Moran whose western landscapes inspired Congress to establish Yellowstone as America’s first National Park in 1872; the Florida landscapes of A.E. “Bean” Backus and the “folk art” of his protégés The Highwaymen; the B&W landscape photography of Ansel Adams and Clyde Butcher and the wildlife illustrations of John James Audubon and Francis Lee Jaques. I attempt to capture the sublime or pictorial elements of their work when composing images.

Other Influences
In addition to American wildlife and landscape artists I am developing an interest in Japanese sumi-e, Chinese hua, and oriental wood block prints. The simple compositions and subdued palettes of the landscapes, wildlife portraits, and flower arrangements greatly inform my photography. I am also exploring the relationship between Impressionism and water reflections as abstracts.

On a typical field day I travel the back roads or wander the trails of America's National Parks, Forests and Wildlife Refuges, for hours on end, and photograph the infinite variety of native wildflowers, butterflies, dragonflies, birds and landscapes. With these images I attempt to capture the essence of art in nature.

Select Bibliography

Abram, David. 1996. The Spell of the Sensuous: Perception and Language in a More-Than-Human World. Vintage Books; New York, New York. 326 pages.

Alinder, Mary Street. 1996. Ansel Adams. Henry Holt and Company, Inc. New York, New York. 489 pages.

Braasch, Gary. 1990. Photographing the Patterns of Nature. Watson-Guptill Publications; New York, New York. 144 pages.

Caponigro, Paul. 1975. Landscape. 74 pages.

Dunning, William V. 1991. Changing Images of Pictorial Space: A History of Spatial Illusion in Painting. Syracuse University Press: Syracuse, New York. 254 pages.

Dutton, Denis. 2009. The Art Instinct: Beauty, Pleasure, and Human Evolution. Bloomsbury Press; New York, New York. 282 pages.

Enyeart, James L. 2001. Harmony of Reflected Light: The Photographs of Arthur Wesley Dow. Museum of New Mexico; Santa Fe, New Mexico. 166 pages.

Lindquist-Cock, Elizabeth. 1977. The Influence of Photography on American Landscape Painting, 1839-1880. Garland Publishing, Inc.; New York and London. 205 pages.

McNamara, Carole. 2009. The Lens of Impressionism: Photography and Painting along the Normandy Coast, 1850-1874. University of Michigan Museum of Art; Ann Arbor, Michigan. 208 pages.

Mora, Gilles. 1998. Photo Speak: A Guide to the Ideas, Movements, and Techniques of Photography , 1839 to the Present. Abbeville Press; New York, New York. 216 pages.

Morton, Mary and Charlotte Eyerman. 2006. Courbet and the Modern Landscape. The J. Paul Getty Museum; Los Angeles, California. 140 pages.

Newhall, Nancy. 1975. P.H. Emerson: The Fight for Photography as a Fine Art. Aperture, Inc.; Ney York, New York. 286 pages.

Novak, Barbara. 2007 (1980). Nature and Culture: American Landscape and Painting, 1825-1875. Oxford University Press; New York, New York. 296 pages.

Patterson, Freeman. 1979. Photography and the Art of Seeing. Van Nostrand Reinhold Ltd.; Totonto, Canada. 156 pages.

Rosenblum, Robert. 1975. Modern Painting and the Northern Romantic Tradition: Friedrich to Rothko. Harper and Row, Publishers; New York, New York. 240 pages.

Schottle, Hugo. 1979. Color Photography: The Landscape. American Photographic Book Publishing Company, Inc.; Garden City, New York. 96 pages.

2016 Andy Eller