Charles Winheld

by on January 3, 2014
$1600

“Post Flood”
rye/wax tempera
20″ x 25″

Florida. casein/resin. 37" x. 37"

Florida. casein/resin. 37″ x. 37″

Fishmarket. casein/wax. 22" c 30"

Fishmarket. casein/wax. 22″ c 30″

Boatworks. casein. 22" x 23"

Boatworks. casein. 22″ x 23″

Lumberyard. 31" x 32". casein/resin

Lumberyard. 31″ x 32″. casein/resin

Sertatude casein 20" x 24"

Sertatude casein 20″ x 24″

$1600

“Basin Red”
casein/wax. 22″ x 18″

$1600

“Lake”
casein/resin 38″x 38″

photo 4 (3)

Sealy’s last sleep 22″ x 26″ casein/resin

photo 5 (3)

Mattress al fresco casein/resin 20 x 25

photo 5 (1)

Railroad. casein. 22″ c. 28″

 

Charles Winheld, Used Car

Used Car

$1600

“Inlet” casein/wax. 22″ x 17″

photo 4 (2)

Interstate. 27″ x 25″. casein/wax

photo 4 (1)

Semi’s retirement casein/wax 22″x 22″

keywest

Key West casein, wax

Charles Winheld, Canal

Canal

$2200

“Apartments” casein, beeswax on paper 21 x 26

Charles Winheld, Green Drum

Green Drum sold

Charles Winheld, Lumber Shed

Lumber Shed

Charles Winheld, Newsstand

Newstand

 

photo 2 (2)

Lawn 22″ x 23″”. casein

photo 2 (1)

Lake. tempera 22″ x 18″

Charles Winheld, Upholstery

Upholstery

Charles Winheld, San Francisco

San Francisco

Charles Winheld, Sand

Boardwalk’s End SOLD

 

photo 1 (2)

Preston’s dock. tempera. 17″ x 20″

 


As a painter, my work has had only one source of imagery: my immediate surroundings – the sort of thing usually known as landscape or cityscape. But underlying the scenes that I select, and even more so the completed paintings, is a strong abstract pattern or arrangement that should impress itself on the observer a moment before the scene itself is recognized. I have therefore found it best to observe and sketch outdoors but to develop my paintings in the studio where the essential conception can unfold without distraction or ” information overload”.

I have worked in recent years exclusively in water-based media that I formulate myself from simple natural sources such as cherry gum (gathered from local trees), casein, egg, and wheat or rye paste; all of these usually mixed with pine resin, beeswax or linseed or walnut oil to create tempera emulsions ground with dry pigments.


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