From New York City to the northern Catskills “ ‘Where can I drive in a day?’ is the question which led me to the bucolic scenery of the northern Catskills. The fall was particularly vibrant this year causing me to linger on the back roads painting en plein air. With the stark suffering New York City went through in March and April of last year, I became more drawn to capturing its beauty. I wanted to show that through all the suffering it has been through, the city still stands tall, strong, and magnificent. It was my prayer for the city and what it was enduring at that moment. That first painting turned into a series. Now, as well as the light and calm of my pastoral landscapes, the artificial canyons of the city have become my inspiration.
(continued)
This body of work portrays both the natural and man-made landscapes of the state of New York. While at first you see the stark contrast between these two environments, I have also grown to see similarities. When I look at the city, I see the planes of the buildings as overlapping mountains. I have devoted my life to painting the vanishing American landscape, and when I paint, I connect with the natural world. I therefore decided to paint many of the cityscapes in the solitude of the forest. By separating the energy and excitement of the city from its man-made qualities, I was able to delve more deeply into my personal connection with the subject.” -Larry Horowitz
Soho Shadows Oil on canvas 27 x 42 inches 2020
After the Show Oil on canvas 46 x 16 inches 2020 Detail of After the Show
Downtown Manhattan Skyline
“I recently made an interesting discovery. I own a ship picture, a lithograph on tin, that I purchased with the money from my allowance at the age of 9 years old. It is of the Kaiserina Augusta Victoria of the Hamburg America Line that was used to bring immigrants to America. I always loved this picture. I even painted a self portrait in front of it when I was only 15. As I was spending time writing down my thoughts for this collection of work, I happened to go into the room in my home where this picture hangs today. I was totally stunned to see the intense resemblance to Downtown Manhattan Skyline, totally unintentional. I feel I have come full circle. In this painting, there are the skyscrapers of lower Manhattan and the World Trade Center appearing almost as a colorful man-made mountain range against the seascape of the Hudson River. Layered over all of that is the sepia veil of history. Immigrants, including my forebears, would line the rails of the ocean liners looking for the first glimpse of the skyscrapers of lower Manhattan and the promise of a new life. This painting represents the American dream. The colorful new World Trade Center anchors the oil with the spirit of renewal and optimism.” -Larry Horowitz
Downtown Manhattan Skyline Oil on canvas 38 x 48 inches 2020
Chelsea View Oil on canvas 29 x 38 inches 2020
Over the Rooftops Oil on canvas 40 x 31 inches 2020
A Oil o 34 x 4
Sullivan Street Oil on canvas 24 x 30 inches 2020
At the Met on canvas 44 inches 2020
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M O 32 20
Morning Walk, NYC Oil on canvas 2 x 40 inches 020
Central Park Spring Oil on canvas 34 x 30 inches 2020
New York Sunset Oil on canvas 24 x 30 inches 2020
Crisp Blue Light Oil on canvas 18 x 36 inches 2020
Bovina Oil on canvas 25 x 44 inches 2020
Close By Oil on canvas 18 x 28 inches 2020
Fall Clouds Oil on canvas 25 x 36 inches 2020
The Field Beyond (an homage to Wolf Kahn)
The Field Beyond Oil on canvas 36 x 52 inches 2020
“In comparison, The Field Beyond has a quiet sentimentality. On the right, an old barn stands as a piece of American archeology contrasted against the field beyond. I passed this scene many times before I realized its significance to me and the need to paint it. After graduating college, I became the assistant to the late Wolf Kahn, the preeminent American painter of barns. As I painted this oil, waves of memories flooded back. I heard faint classical music playing in the background of my subconscious. I felt the memory of Wolf in the play of light on its surfaces. From Wolf I absorbed the sights and smells, the very feeling of being an artist. This painting has a special resonance to me because of his passing last year. He had a very important role in making me the painter I became. Thank you, Wolf, this painting is dedicated to you.” -Larry Horowitz
Kiff Brook Oil on canvas 22 x 30 inches 2020
Impasto Autumn Oil on canvas 22 x 28 inches 2020
The Path by the Farm Oil on canvas 16 x 33 inches 2020
Sn Oi 17 20
nowing il on canvas 7 x 21 inches 020
Grey Seas Oil on canvas 22 x 38 inches 2020
Winter Brook Oil on canvas 20 x 24 inches 2020
The Hudson, Winter Oil on canvas 21 x 28 inches 2020
Right: Rain Storm Oil on canvas 25 x 36 inches 2020
Left: Sky Story Oil on canvas 50 x 12 inches 2020
Larry Horowitz’s remembrances of Wolf Kahn
I remember the first time I met Wolf Kahn. I was out of breath after running up four flights of stairs to his loft on 11th Street and Broadway. Fresh out of college and brimming with enthusiasm, I was thrilled to be interviewing to be his studio assistant. The first thing I noticed was the overwhelming smell of oil paint and turpentine mixed with a slight hint of El Pico coffee. When he handed me a steaming mug I raised my head and took a look; average height, paint stained work smock and a shocking head of bluish-white hair. We walked around together while Wolf showed me his two studio rooms; one for him and the other for his wife, Emily Mason. Wolf’s room was in the front with four large old windows facing out to the Broadway traffic. He used a wall easel and on it was a magnificent barn painting in process. While I was there he took one of his house painting brushes, mixed a few colors and scumbled them on the wall of the barn. The painting became infinitesimally better. This day was the beginning of my entrée into the New York art world of the late 1970’s.
Wolf always said that pastels are like the dust on a butterfly’s wings. He would sketch out his pastels en plein air usually spending about 20 minutes on each one. When he returned to his studio, he would work them up further, letting them develop a thick layer of pastel dust. Only when he felt he was finished would he blow off the excess. He would have the finest pastels shipped over from France and Germany, but was still disappointed with their quality. I eventually suggested that I could make him some even though I had never done such a thing. At first he laughed, but having second thoughts he went to his supply cabinet and brought out a couple of bottles of pigment. I took the pigments back to my loft in Port Chester and contemplated my next move. I remembered on my honeymoon in Italy I was very impressed by the 18th C. pastels of Rosabla Carriera. Their soft, ethereal quality intrigued me and I had a suspicion that that was what Wolf was after. I did some research at my local library and I came up with my own formula based on the old master’s. Wolf tried them and was quite pleased. A new endeavor
was launched. Within a couple of years, I was making custom pastels not only for Wolf, but for Willem and Elainets. Going to some of their continued... was launched. Within a couple of years, I was making custom pastels not only for Wolf, but for Willem and Elaine de Kooning, Frank Stella, Jennifer Bartlett, and other prominent artists. Going to some of their studios and seeing their process was life changing. Making pastels has given me a special understanding of the unique qualities of pigments and colors that I am grateful for to this day. -Larry Horowitz