Amy Huddleston

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Artists

"Transit of Venus", 2016, mixed media on paper, 32" x 42.5"

Fred Birchman

"Water Film", 2014, reworked 2016, oil on panel, 30 x 24"

Brian Blackham

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

David Brody

Untitled, 1983, Polaroid print

Marsha Burns

"Paris Mountain", 2016, oil on canvas

Kimberly Clark

"Grey Clouds Over Ghost Buildings", 2011, graphite, watercolor and gouache on paper, 5 x 6.75"

Sally Cleveland

"Concrete Form #5", 2011, graphite on paper, 23 x 29" paper size

Steve Costie

"Dentil", 2013, ink on paper, 17 x 23"

John Fadeff

"Odds", 2016, archival ink jet, 20 x 15"

Ellen Garvens

"Ellis Cove Trail", 2016, walnut ink on paper, 5.75 x 3.75"

Kathy Gore Fuss

"Melt", 2012, oil on canvas, 66 x 62”

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

"K.M. (backyard)", 2011, acrylic on canvas, 16.25 x 11"

Michael Howard

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

Amy Huddleston

False Mirror, 2016, archival inkjet print, 9.5 x 14.25 ”, ed. ¼

Caroline Kapp

"Fjallabek", 2002, archival pigment print on rag paper, 16.5 x 22” on 19" x 24” paper

Dianne Kornberg

"Aracuna", 2015, archival pigment print, 8 x 10"

Carolyn Krieg

Mikleyn

Phillip Levine

"Hallway Blue", 2016, oil on canvas, 27 x 20"

Kathy Liao

"Shadow's Gate", 2014, oil & wax on Yupo paper,  8 x 7" im.

Dale Lindman

"Grand Foyer, Paris Opera", 2005, pencil, ink, watercolor on paper, 30 x 44"

Elizabeth Ockwell

"Number 4", 2011, acrylic on paper, 22 x 30"

Robert Perlman

"Waiting", 2016, oil on paper, 12 x 9"

Anne Petty

"Budget Auto Wrecking", 2002, archival inkjet print, 24 x 32"

Glenn Rudolph

"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

"Branching", 2016, inkjet print 6 x 9"

Graham Shutt

"Untitled", 1996, charcoal on paper, 25x19", photo credit: Mark Frey

Linda Thomas

Kathy Vargas, "Masks Children Wear, Piggy", 2014, hand-colored gelatin silver print, 20x24" image, 24 x 30" framed

Kathy Vargas

"Interior with Woman and Red Carpet"

Jordan Wolfson

"Thicket", 2015, oil on canvas, 36 x 36"

Evelyn Woods

We also have works by:

"Leschi Park Trolley Bridge", 2016, silver gelatin print, 24 x 32" framed

Eduardo Calderón

 "Still Life Against a Clear Sky", 2013, oil on panel, 14.75 x 24"

Dean Fisher

"Treasure Chest", 2008, oil on panel, 19 x 30"

Matt Klos

"Arm's Reach"

Romey Stuckart

Atlas Cement near Olana (December 18,1997)

Susan Wides

Hut with Red Roof

Andrew Yates

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

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

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

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

Amy Huddleston, "Hoodie", 2016, charcoal on paper, 24 x 18”

Amy Huddleston, "Hoodie", 2016, charcoal on paper, 24 x 18”

"Juanita Beach", 2012, gouache, 4.75 x 4.5"

"Juanita Beach", 2012, gouache, 4.75 x 4.5"

"EB in the Kitchen", 2015, oil on canvas, 44 x 29"

"EB in the Kitchen", 2015, oil on canvas, 44 x 29"

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

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

"Figure in Red Robe", 2014, oil on hardboard, 37 x 18.5"

"Figure in Red Robe", 2014, oil on hardboard, 37 x 18.5"

"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"

"Tree Study by the Alibi Room", 2015, gouache, 9 X 4.75"

"Tree Study by the Alibi Room", 2015, gouache, 9 X 4.75"

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

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

"Stephen's Jacket", 2014, oil on board, 20 x 16"

"Stephen's Jacket", 2014, oil on board, 20 x 16"

"Stump Study 2", 2014, oil on board, 12 x 16"

"Stump Study 2", 2014, oil on board, 12 x 16"

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

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

"Boy on the Beach", 2012, acrylic, 6 x 6"

"Boy on the Beach", 2012, acrylic, 6 x 6"

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

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

"Bagged", 2016, charcoal on paper, 24 x 18"

"Bagged", 2016, charcoal on paper, 24 x 18"

"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

"Boy in Red Robe", 2009, casein on cradled panel, 8 x 10"

"Boy in Red Robe", 2009, casein on cradled panel, 8 x 10"

"Field Study", 2016, casein, 12 x 12"

"Field Study", 2016, casein, 12 x 12"

"Stephen Posing (sitting)", 2009, acrylic on plywood, 24 x 24”

"Stephen Posing (sitting)", 2009, acrylic on plywood, 24 x 24”

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

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

"Green Bag", 2016, casein, 17 x 28"

"Green Bag", 2016, casein, 17 x 28"

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