Adirondack Mountain Club – ADK Beat the Rush 2015
Auction Ends: Dec 9, 2015 12:00 AM EST


A John J. Abisch 14"H x 20"W Oil on Linen Panel - 'Morning Light at Wilmington Notch'

Item Number
Estimated Value
$700 USD
$320 USD to ja8d5284e
Number of Bids
6  -  Bid History

Item Description

A native of Rochester, New York, John J. Abisch always had a desire to draw since he was a child. Receiving inspiration from the paintings of T.A. Daly, C.M. Dudash, Clyde Aspevig, Scott Christensen and Tucker Smith, John set out to paint landscapes of places he had been to as well as still lifes of the simple things around him. His work is best described as impressionistic realism.  John presently resides in Candiac, Québec, with his wife, Lyne.  He is a missionary/pastor of a French speaking church.

Item Special Note

14"H X 20"W Oil on Linen Panel Painting - UNFRAMED

Painting will be shipped directly from studio

Artist's Materials and Methods

I use only professional grade paints for both my watercolours and oils. My choice of watercolours may vary between Winsor-Newton, Holbein or Schminke.  My choice of oil paint varies between Holbein, Gamblin or Williamsburg.  Arches or Fabriano are my preferred watercolour papers.  I choose only the archival quality grade.  My oils are painted on Ampersand hardwood panels or masonite panels upon which I fix linen.  I then place two or three coats of gesso on the linen letting each coat dry and lightly sanding between coats.  I will then paint on a layer of Gamblin or Holbein ground and let it dry several weeks before painting on the surface. 

My oil paintings begin with a rough gesture sketch with a small 1 or 2 hog bristle brush dipped in thinned oil paint.  I then rough in the masses of colour having keyed in the value.  The painting is worked until I can do no more for that painting session.  Once the first layers of paint are set, I will add more colour by glazing or scumbling certain passages until I reach the desired effect.  Usually, no more than three to four passes (for my larger paintings) are necessary.

Generally, I choose from a limited palette of only seven colors.  Of the seven that I normally use, only four of five will be used for a painting.  I prefer to mix my own colours as it gives me greater sensitivity to what goes into coloured neutrals as well as understanding their colour temperature.  I like to keep things simple.  For me personally, too many colours to choose from make the painting process too complex.  My palette in watercolours and oils consists of  cadmium yellow pale, cadmium orange, cadmium red light, permanent alizarin, French ultramarine, cerulean blue or cobalt blue and sometimes viridian. Of course, white is used for oil painting and I will use Titanium-zinc white or Holbein's ceramic white.

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