Amy Huddleston

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Artists

"Green Mansions", 2017, mixed media on paper, 30 x 22"

Fred Birchman

"Red Stripe Room", 2016, Archival Inkjet Print, ed. of 3, 20 x 20"

David Brody

Marcus and Edwin, circa early 1980s, silver gelatin print, 20 x 16” paper size

Marsha Burns

"Paris Mountain After the Ride", 2017, oil on linen, 18" x 18"

Kimberly Clark

"Wall", 2008, oil on paper, 5" x 7"

Sally Cleveland

"Shannon in Passage", 2016, oil on canvas, 48" x 42"

Ann Gale

"Erase", 2014, archival inkjet print, 18 x 24"

Ellen Garvens

"Nature's Reward", 2017, walnut ink on Yupo paper, 25.5” x 33.5” image, 36.75” x 44” framed

Kathy Gore Fuss

"Planet #3", 2017, oil on canvas, 24” x 41”

Philip Govedare

“All the Livings Things: Doll’s Eye, 6.5.16″, 2016, oil on Shikishi Kochi handmade paper, 9.5″ x 9.5”

Jim Holl

01, 2018, acrylic on canvas, 48" x 96"

Michael Howard

"White Coat", 2016, acrylic, 10.75 x 16"

Amy Huddleston

"Big Story No. 1", 2018, Archival inkjet print on Aquarelle 310 GSM paper, 44” x 30”, No edition / single artist’s proof

Caroline Kapp

"Calilogy", 2009, archival pigment print, 24" x 17"

Dianne Kornberg

Untitled, 2015, archival inkjet print

Carolyn Krieg

"Of Course" view 1, 2018, Bronze, 18" x 12" x 5"

Phillip Levine

"2am Apparition", 2016, oil and Washi tape on linen, 24 x 24"

Kathy Liao

"First Frost", 2016, acrylic, pigment and oxides on birch panels, 96 3/8" x 66"

Dale Lindman

"La Salle, Paris Opera", 2009, pencil, ink, watercolor on paper, 30 x 44"

Elizabeth Ockwell

"Number 4", 1996, acrylic on paper, 30 x 22"

Robert Perlman

"Water", 2017, oil on canvas, 30" x 30"

Anne Petty

"Bird House with Figure", 2016, acrylic on paper, 22 x 18"

Robert Schlegel

"Water Tower", oil on canvas board, 11 x 14" image, 11.75 x 14.75" framed

Bill Sharp

"Construction 007" 2014, archival inkjet print, 12 x 18"

Graham Shutt

"Interior with Woman and Red Carpet"

Jordan Wolfson

"Rain Garden", 2017, Oil on canvas, 36” x 36”

Evelyn Woods

"Pink Wig", 2015, oil on canvas board, 11 x 14"

"Pink Wig", 2015, oil on canvas board, 11 x 14"

"Pink Skirt", 2016, acrylic, 12 x 12"

"Pink Skirt", 2016, acrylic, 12 x 12"

 "Out of Hand Out of Mind", 2016, oil, 7 x 19”

"Out of Hand Out of Mind", 2016, oil, 7 x 19”

"Hand Study, Stephen's Note", 2015, casein on linen, 5 x 9"

"Hand Study, Stephen's Note", 2015, casein on linen, 5 x 9"

Stephen, Profile #3", 2015, oil on linen, 11 x 9"

"Stephen, Profile #3", 2015, oil on linen, 11 x 9"

"Empty Box", 2015, casein, 12 x 14"

"Empty Box", 2015, casein, 12 x 14"

"Skull Study", 2015, oil on linen, 14 x 15"

"Skull Study", 2015, oil on linen, 14 x 15"

"Stephen, Profile #2", 2014, oil on canvas board, 9 x 12"

"Stephen, Profile #2", 2014, oil on canvas board, 9 x 12"

"Incomplete Hoodie", 2015, casein, 16 x 12"

"Incomplete Hoodie", 2015, casein, 16 x 12"

"Stephen, Profile", 2015, oil on board, 10 x 8"

"Stephen, Profile", 2015, oil on board, 10 x 8"

"Block", 2015, oil on cardboard, 8.5 x 12"

"Block", 2015, oil on cardboard, 8.5 x 12"

"Stephen Posing 2", 2013, casein on canvas, 31 x 37.5" framed

"Stephen Posing 2", 2013, casein on canvas, 31 x 37.5" framed

"Stephen with Blue Background", 2016, oil, 6 x 9"

"Stephen with Blue Background", 2016, oil, 6 x 9"

Amy Huddleston bio

Amy Huddleston studied Art at the University of Montana from 1982 to 1983 and was discouraged by her professors, in regard to focusing on realism. She dropped out and moved to Seattle in 1984 to study at the Art Institute of Seattle, where she was introduced to the work of Vuillard and Bonnard via William Cumming. Though she was still encouraged to avoid realism, she was taught the importance of design, and how color relationships worked in painting. Huddleston left AIS to focus on painting. While she continued to paint along the lines of the Nabis philosophy, as interpreted via Cumming; with frequent visits to his studio with fellow former AIS students, Huddleston continued studying realism independently, finding most influential the works of, Uglow and Coldstream, as well as innumerable contemporary painters.Currently Huddleston's focus is on realism, particularly on creating accurate locations based on what is being observed (generally photos, but not always) and then allowing the inaccurate things that we think we see, based on our own faulty perception, to intervene. http://www.amyhuddleston.com