"TROVE" (1966) NORMAN LANE
Lane was born in New York City, on March 4, 1931. He attended Temple University, Philadelphia, graduating in 1954. While largely self-educated as an artist, he has been strongly influenced by Paul Horiuchi, 1958-61. The artist now lives in Eugene, Oregon.
The artist has had one-man shows at the Campus Gallery, Seattle, 1959; Old Customs House, Mobile, 1961; Penn Art Center, Philadelphia, 1962; Warehouse Gallery, Wilmington, 1963; Westerly Gallery, NYC, 1963; Erb Memorial Student Union Gallery, University of Oregon, Eugene, 1965; and the Jewish Community Center, Portland, Oregon, 1965.
His work has been included in the following group shows: Northwest Annual, Seattle Art Museum, 1958, 1960; Pine Street Show, Artists Equity Invitational, Seattle, 1959, 1960; Western Washington State Fair, Puyallup, 1959; Tacoma Art League Annual, Tacoma, Wash., 1960; Bainbridge Island Arts and Crafts Annual, Winslow, Wash., 1960;
Mobile Art Association Annual, 1961; Woodmere Art Gallery, Philadelphia, 1962; "Art '62," East House Gallery, Philadelphia, 1962; Penn Art Center, Philadelphia, 1963; Houston Hall Gallery, University of Pennsylvania, Philadelphia, 1963; Annual (drawing), Portland Art Museum, Portland, Ore., 1964; The Fountain Gallery, Portland, 1965,1966; and the Otto Seligman Gallery, Seattle,1966.
Among collections including the artist's work:
Museum of Art, University of Oregon, Eugene; Mr.
and Mrs. E. N. M. Baines, Worcester, England;
Mr. and Mrs. David ou Isbo, Wash.; Mr.
and Mrs. James A. Reither, Eugene; Mr. and Mrs.
Walter Scheps, Cleveland; Mr. and Mrs. Kornel
Skovajsa, Spokane; and Mr. and Mrs. Jerome
"I paint because I have to.
It's a sort of tropism.
Once you become aware of certain things, you find that you have to react to them.
The Northwest landscape is a rich source of pattern to stimulate the eye. Areas of tension-rock and water, mist and land-exist in a state of flux.
The details are always changing, but the sense of change is constant. Growth and erosion are bound together like the masks of tragedy and comedy. Each complements the other and both exist simultaneously at any given moment.
The act of painting is both an inward and an outward thing. The big trick is to refine the concept and keep it simple. I try to interact with the early stages of a painting so that we can seek its evolution.
A successful work is one that is organi-
cally complete. It has not been imposed on by the artist; but rather, it has been allowed to seek its own growth potential.
Self-imposed limits help to achieve the largest possible statement from a minimum of means.
That is why I have chosen to paint with a limited palette of only four colors applied thinly so as to be translucent. It is also the reason that my work has evolved from a preoccupation with linear pattern to that of spatial relationships and textural action."
-the artist, in a statement
written for this catalogue.
ICE MOUNTAIN 1957
oil on composition board
29-3/4" x 19-3/4"
Haseltine Collection of
Pacific Northwest Art, 1966
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