Roy Germon
In my paintings, I am more likely to rely on the strength of a broad brushstroke over a finely drawn detail of the landscape. Invented color relationships often win out over a more exact palate found in nature. Though many of the locations in my paintings have real and emotional significance to me, ultimately my paintings are ideas of those places, transformed by my systems of organization and mark making. My manipulation of “place” is both intentional and intuitive and the most successful works comprise equal parts observation, imagination and discovery.
Roy Germon
"Schoodic Visit" acrylic on panel 44" x 48" $6,400 sold
"June Greens" acrylic on panel 30" x 24" $3,500
"Sand Beach Sunday" acrylic on panel 20" x 24" $2,800
"April Pines" acrylic on panel 18" x 18" $2,300
"Schoodic Spray" acrylic on panel 24" x 30" $3,500 sold
"Pleasant Pond" acrylic on panel 26" x 24" $3,400
"Little Moose, Schoodic" acrylic on panel 16" x 18" $2,200 sold
"February Twilight" acrylic on panel 24" x 30" $3,500 sold
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"Spruce Shadows" acrylic on panel 16" x 20" $2,200
"Winter Trail" acrylic on panel 14" x 16" $1,800
"Spring Ravine" acrylic on panel 24" x 20" $2,800
"The Narrows, Schoodic" acrylic on panel 32" x 40" $4,500
"Island off Grindstone" acrylic on panel 32" x 36" $4,250 sold
"Rock, Sand, and Bay" acrylic on canvas 52" x 44" $6,500 sold
Germon is one of the top-notch notables of the new Maine painting. His works are marked by a boldly flickered brush that generally holds tight to the surface and an appreciable sense of sophistication and visual intelligence. Using a chalky palette, Germon’s marks are less about the writhing of the bristles through the paint than about the form of the mark on the surface. In other words, Germon’s marks aren’t dollops, dabs or daubs. They are shapes.
Daniel Kany