Regency Parkway Art Presenting Greenwich Workshop

The Art of Don Demers

By the Old Boat by Don Demers

Maritime legend, Don Demers is a Massachusetts native. Don’s interest in painting maritime subjects began while spending his summers on the coast of Maine near Boothbay Harbor. Crewing aboard schooners, square-riggers and other traditional craft have provided both the foundation for his technical expertise and the vision to transfer his first-hand experience to the canvas. His love of sailing has not diminished over the years.

"The Old Boat House" marked Don’s premiere release with Greenwich. This breathtaking vision captures the true spirit of the artist’s extraordinary talent. As the fresh breezes from a perfect day on the water fade away, these day sailors drift toward the protection and comfort of their secluded cove.

Working Through a Fog, East River, NYC by Don Demers

The completion of the Erie Canal in 1825 all but sealed New York Harbor’s destiny as the most important port in North America. Ships from around the world called on the port 365-days a year and the business of piloting these vessels into the harbor was profitable and competitive. The pilot schooner fleet’s boats were handsome, heavily-sparred vessels that raced each other to incoming ships for the right to pilot them in. The most well known of these, the "America," was the fastest vessel of her day and the namesake of the America’s Cup

The "Joseph Pulitzer" was built for Mr. Pulitzer as an ocean racer and was one of 22 such schooners operating out of New York Harbor in 1894. Ever since its completion in 1883, the Brooklyn Bridge with its epic proportions and grand design, was the background against which life on Fulton Street and the East River played.

Demers' "Working Through a Fog, East River, NYC" embraces the waterfront’s moody atmosphere and the convergence of the eras of steel, steam and sail. All that is missing from this gorgeous Fine Art Edition Canvas are the sounds of steam whistles wafting across the water and the warm moist smell of salt in the air.

The Art of R. Tom Gilleon

Primary Primitives by R. Tom Gilleon

Triangle, circle, and square in red, yellow, and blue: three primary shapes and three primary colors against a minimalist backdrop. Primary Primitives is an arresting study of the fundamentals of visual art. In the past, the word “primitive” was often used as a disparaging description of uncomplicated artistic depictions. The label was also applied to simpler ways of life, such as that of the Plains Indians. But the magnetic beauty of Primary Primitives reminds us that in life as well as art, elegance and power are found not in adornment, but in simplicity.

Moon and Saturn by R. Tom Gilleon

The Art of Howard Terpning

Opening the Sacred Bundle by Howard Terpning

"Originally this was going to be the focal point of my submissions for the Cowboy Artists' show. But as I working on it, I realized that this image was more important to me than almost any other in recent memory. When it was time to prepare for the exhibition, I decided, with my wife's support, to keep it. It now holds a special place of honor in our living room."

"These four Plains Indians are seated in a tepee around a smouldering fire of sweet grass and sage. The headdress of the figure opening the bundle may be familiar to you. It is the same one worn by the subject of 'Talking Robe' which is the painting I created to replace this one at the Cowboy Artists' show."


It is the 1850s at Chadron Creek in northwestern Nebraska. The peace is yet to be shattered by the Sioux Wars and these Brule Sioux have arrived to trade hides for blankets and such "white man" trinkets as kettles, axes, powder and guns.

The look and design of the sod cabin was typical for the area. It took fewer logs to build it that way and a sod structure provided added insulation and security in a tense time. But overall, this image shows that cooperation was always possible when people tried to understand each other.

The Art of Frank McCarthy

Splitting the Herd by Frank McCarthy

Native Americans would often try to break up a herd into smaller groups because riding into a large herd is difficult. Then they would run that buffalo around in circles making the animals fall over each other. The bow men usually moved to the left-hand side of the buffalo to get the arrow into its heart. The men with the spears are normally on the other side of the group because they can get more power into their right hands. This powerful triptych can be seen at Regency Parkway Art and comes in a beautiful custom frame, signed and numbered, with a certificate of authenticity.

Watching the Wagons by Frank McCarthy

"Gathering storm clouds symbolize the approaching conflict as Indians worriedly observe settler wagons just beyond effective rifle range," wrote Frank McCarthy. "In the beginning people were mostly just passing through, but as settlers increasingly dropped off to stay, it was clear that the Indians' claim to the land was threatened."

A massive thunderstorm gathering in the background adds drama to this painting and symbolizes the growing storm between settler and Native American. A group of Sioux watch as an early wagon train pushes west. The Native Americans were not yet ready to fight for they had not yet lost their buffalo or vast lands. But as the influx continued, these events would come to pass and the gathering storm would break and unleash its fury on the prairie.

The Art of Tucker Smith

The Challenger by Tucker Smith

Those who love steam engines are no doubt familiar with the Challenger, the fastest freight locomotive of the Union Pacific fleet in the 1940s and 1950s.

The Challenger, based on the design for a successful freight engine, was the largest, heaviest and most powerful articulated passenger locomotive ever built. The powerful engine and 67-inch-diameter driving wheels enabled it to both negotiate the steep grades of the passes through the Rocky Mountains and achieve speeds necessary for express passenger service.

Artist Tucker Smith set the painting at the top of Sherman Hill between Cheyenne and Laramie, Wyoming, at an elevation of about 8000 feet. In the background are the Rocky Mountains of Colorado. At the left of the painting, the yellow scheme the Union Pacific used for its passenger cars during the 1950s can be seen.

“I like to paint steam locomotives, in part, because I view myself as an animal painter,” says Tucker Smith. Continuing, he explains that paradox. “There’s something almost alive about a steam engine. It breathes steam and you can watch all the moving parts on the outside of the engine―even the steam pipes, valves and pumps. That’s what is magical to me about a steam engine. It seems to have a life all its own. As I was working on it,” Smith says, “I was thinking ‘speed’ and ‘movement.’ I wasn’t trying to think of it as a photograph. I was trying to put myself there. I was wondering how it would feel if you actually stood there as the train went by. That was more important to me than getting every detail. You can see every nut and bolt only when the locomotive is motionless, not when it’s racing by you.”

Malamute by Tucker Smith

“One of the greatest attributes of art,” says Tucker Smith, “is that one does not need to be a painter or sculptor to participate. One only needs to observe.”

"Malamute" is a painting of one of the artist’s dogs resting contentedly in the snow by an outbuilding on his ranch in Montana. “I had confiscated the traps from a fellow who was illegally trapping on our land,” he says. “In the early days, dog teams were used to run trap lines so when I saw Tobuk curled up under the traps, I thought it was a fitting scene for a painting." Tucker Smith won the 2010 Bob Kuhn Wildlife Award.


Greenwich Workshop

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