Art by Mary Sipp Green
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Midsummer Twilightoil on linen, 26" x 42"Midsummer Twilight
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Misty Meadowoil on linen, 30" x 44"Misty Meadow
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Dutcher Dockoil on linen, 44" x 48"Dutcher Dock
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Misty Morning Along the Shoreoil on canvas, 46" x 48"Misty Morning Along the Shore
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Morning Light at Lucy Vincentoil on canvas, 50" x 52"Morning Light at Lucy Vincent
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Iris Versicoloroil on canvas, 41" x 50"Iris Versicolor
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Crescent Moonoil on canvas - 32" x 44"Crescent Moon
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Morningoil on panel, 17" x 11"Morning
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Vineyard Light, Study
oil on panel. 13.75" x 14.25"
Vineyard Light, Study -
Morning in Julyoil on canvas - 11" x 23"Morning in July
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Summer Sunsetoil on panel - 11" x 22"Summer Sunset
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Farmhouse at Hearing Creekoil on panel - 11.75" x 24"Farmhouse at Hearing Creek
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Divergent Pathoil on panel - 11.75" x 16"Divergent Path
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Twilight Meadowoil on panel - 8.75" x 11"Twilight Meadow
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Farm House in St. Remyoil on panel - 9.75" x 12.75"Farm House in St. Remy
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Moon in the River, Sold
oil on panel, 16.5" x 8.5"
Moon in the River, Sold -
Lavender Fields in St. Remy Provence, Sold
oil on panel - 11.5" x 14.5"
Lavender Fields in St. Remy Provence, Sold
BIOGRAPHY
Mary Sipp Green received her training at the Fashion Institute of Technology in New York City. During her career, Mary has worked alongside many notable artists including Leo Garel. Her uniquely developed techniques and atmospheric style have afforded much accolade, earning the Adolf and Clara Obrig Award from the National Academy Museum as well as many publications. Recently, Mary’s work has been acknowledged with a major exhibition at the Springfield Museum of Art. Mary currently resides in Berkshire County, the landscape of which is the inspiration for many of her current works.
ARTIST STATEMENT
For the past twenty years, I have been working as a landscape painter in the Berkshire Hills of Massachusetts. While my preferred medium has always been oil on linen, my methods, techniques, and aesthetic aims have all undergone significant transformations since I first began.
As a young painter, I learned my craft in the studio, painting still-lifes and portraits, as well as landscapes drawn directly from nature. Over time, I became increasingly engaged with more abstract and spiritual aspects of the landscape form and I began to pursue a less representational, more expressive style. In order to move away from the constraints of figurative painting, I developed a more indirect process that still informs the way I conceptualize my work. When I first approach the canvas, I will usually have some sense of the color scheme and overall composition; an almost architectural strategy for how I will proceed to build the painting. Each painting begins with preliminary sketches and color notes recorded on site, but the work itself takes shape in my studio, after a meditative interval of temporal and spatial distance that allows memory and emotion to guide the work.