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Thomas Sgouros

Remembered Landscape (blue/orange)

Oil on linen
60 x 64 in.
Price on request

About the Work

Materials Oil on linen
Size 60 x 64 in.
Rarity Unique, one of a kind
Medium Painting
Framing Professionally framed
Proceeds Benefit AMDF and Cade Tompkins Projects / The Estate of Thomas Sgouros
Contributed by Cade Tompkins Projects / The Estate of Thomas Sgouros
This work will ship from Providence, RI after the exhibition closes in New York on April 26, 2024. Pre-arranged pick-up in New York City at the exhibition's close may be an option. Shipping costs and all applicable fees are the responsibility of the buyer.
Rights Image courtesy Cade Tompkins Projects / The Estate of Thomas Sgouros

Before the onset of macular degeneration, Thomas Sgouros had painted from observation with meticulous detail. After macular degeneration set in, Sgouros could still see general shapes and values, though not color or detail. This made it impossible for him to work from life. Experimenting in his studio, he eventually hit upon the idea of using masking tape and a T-square to create horizon lines, and then began painting the “Remembered Landscapes,” as he called them, that would constitute the sole subject of his work for the last twenty years of his life.

He used a jeweler’s loupe and was organized in the way he put paint out on his palette, so that although he couldn’t see colors, he always knew where they were. Thus, despite being able to discern only tone and general shapes, he found a way to continue his lifelong habit of combining careful observation (albeit remembered) with abstraction and suggestion, and transformed miasmas of color into emotionally laden evocations of scenes we have seen. As Sgouros said of these works in a late-life interview:

I found less and less that I needed to record what was there and realized more and more that solving the riddle of the rectangle or the square was what painting was about. They’re remembered landscapes; they’re not acute observations of reality, or translations of reality into some kind of photographic or realistic terms, but rather, a recognition of the entire canvas and the shape relationships—the big against the little, the rough against the smooth, the cool against the warm. Which is the language of painting and what made losing my sight not that large a tragedy in the last analysis.

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