Richard Trumbull
After a PhD in clinical psychology and a career as a clinical psychologist, Richard Trumbull began to paint. In Southern California, due to serendipity, he met Lela Harty, from the Chicago Art Institute and a Master Teacher, and, as Trumbull describes, “More than showing me how to paint, she taught me how to see. A surprising and wonderful gift.”
The impressionistic and abstract paintings of Richard Trumbull have been exhibited in Mexico and in California in a wide variety of exhibitions and solo shows and are in private collections from Paris to San Francisco, from Toronto to Mexico City.
His paintings have been featured on the poster art of the San Miguel Chamber Music Festival, San Miguel Jazz and Blues Festival, and the renown San Miguel’s Annual Writer’s Conference.
Trumbull is one of the featured artists in two publications of the excellent series “Art in San Miguel” and is one of the featured artists in the highly respected Mexico City publication, “Compendo de Creadores Mexicanos.”
He currently exhibits at, and is represented by, the prestigious Zoho Gallery in San Miguel de Allende. For sales inquiries contact www.zohogallery.com
The impressionistic and abstract paintings of Richard Trumbull have been exhibited in Mexico and in California in a wide variety of exhibitions and solo shows and are in private collections from Paris to San Francisco, from Toronto to Mexico City.
His paintings have been featured on the poster art of the San Miguel Chamber Music Festival, San Miguel Jazz and Blues Festival, and the renown San Miguel’s Annual Writer’s Conference.
Trumbull is one of the featured artists in two publications of the excellent series “Art in San Miguel” and is one of the featured artists in the highly respected Mexico City publication, “Compendo de Creadores Mexicanos.”
He currently exhibits at, and is represented by, the prestigious Zoho Gallery in San Miguel de Allende. For sales inquiries contact www.zohogallery.com
Excerpts from Hope Palmer’s Reviews
“Landscape Abstracted” and “Between Realism and the Abstract”
“[Richard Trumbull] is less interested in local representation and more interested in abstraction to express the essence of the experience. He paints in a suggestive rather than a descriptive mode. We are the ones who complete the image.
In these paintings with their viscosity of paint we see an ongoing dialog with abstraction. Unfettered falling lines of color mixed with layers of previous strokes create a rich mélange of texture and color that skirt an immediate reading of a known place. At once familiar because of tonal values and shapes we only secondarily become aware of something richer and deeper.
The paintings don't rely on local color, but they have a spectral light all their own. These are the kind of paintings that don't release everything upon a first visitation but insist upon active participation from the viewer. The luxuriant color not often found in conventional representation lingers long after our encounter. The deftness of the strokes and a willingness to play as Trumbull makes use of each corner of his canvases is truly refreshing.”
In these paintings with their viscosity of paint we see an ongoing dialog with abstraction. Unfettered falling lines of color mixed with layers of previous strokes create a rich mélange of texture and color that skirt an immediate reading of a known place. At once familiar because of tonal values and shapes we only secondarily become aware of something richer and deeper.
The paintings don't rely on local color, but they have a spectral light all their own. These are the kind of paintings that don't release everything upon a first visitation but insist upon active participation from the viewer. The luxuriant color not often found in conventional representation lingers long after our encounter. The deftness of the strokes and a willingness to play as Trumbull makes use of each corner of his canvases is truly refreshing.”
Excerpt from Collector J. Kress' Review
“My first encounter with a painting by Richard Trumbull, an artist whom I had never met nor even heard of, was one of recognition. It had something of the feel of another artist whose work I equally admire: Nicolas de Stael. Gradually, I became acquainted with more of Trumbull's creation and, again, the same reaction. Here there was a touch of Cezanne, there a hint of Monet. In several paintings, the paradoxically luminous use of the color black reminded me of Soulages. Others achieved the "glow-from-beneath" effect that one associates with Mark Rothko and Rufino Tamayo. Richard Trumbull demonstrates with skill and mastery, harmony, rigor and finesse that draws inspiration from the greats.”