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D e b r a Va n T u i n e n


"My art is my life - all that I experience and see becomes part of my work. How I respond physically, spiritually and intellectually to my environment is the essence (the spirit) of my work."

"La mia arte è la mia vita - tutta che sperimenti e veda si trasforma in in parte del mio lavoro. Come rispondo fisicamente, spiritual ed intellettuale al mio ambiente è l'essenza (lo spirito) del mio lavoro." Debra Van Tuinen

Collections and Resume: www.vantuinenart.com

Paiting on first page:

Azure Transitions, 48"x67", Oil Encaustic

Printed by LETTRA, Los Angeles (213) 480-0550


When I paint, I think what would satisfy me is to...make everything more beautiful." - Fairfield Porter

“When I paint, I think what would satisfy me is to...make everything more beautiful.” - Fairfield Porter "Debra Van Tuinen is an artist who is making things more beautiful. Her work consists of delightful contemplations of a twi-

“Debra Tuinen is anevokes artist who is making more beautiful. Herand work consists of delightful contemplations of a twi-light light Van feel... The work a tone ranging things from Whistler to Rothko, it acts to invite our contemplation and meditation. feel... Theleaf work evokes a tone ranging from Whistleras to gold. Rothko, and it acts to invite our of contemplation and meditation. Gold leaf Gold is evocative as twilight sun, as precious In general it makes the rest the painting look poor. Debra's 'Old is evocative as twilight precious as gold. In general it makes the rest of the look Debra’s ‘Old Growth/New Growth/New Life' issun, the as most successful application of this technique I have everpainting seen. She haspoor. accomplished a miracle." Life’ is the most successful application of this technique I have ever seen. She has accomplished a miracle.” (Quote from John Spike, critic and Director of the Florence Biennale.) John Spike, critic and Director of the Florence Biennale "Mark Rothko’s atmospheric abstractions of the 1950's and 60"s are a modern precedent for Van Tuinen’s ephemeral

“Mark Rothko’s atmospheric of the 1950’s and 60”s aredematerializing a modern precedent for Van too, Tuinen’s ephemeral approach, approach, emphasizing theabstractions sensory experience of color and light, form. Rothko is a painter of American emphasizing sensory color dematerializing form. Rothko too, is a painter of American landscape, landscape,the that place experience of expanse of and lightand thatlight, defines a kind of New World romanticism. In the Pacific Northwest where thatVan place of expanse and light asserts that defines kind of New World romanticism. the Pacific whereand Van cold Tuinen resides Tuinen resides nature itself astrongly in the ever-present deep In green forests, Northwest turbulent skies, rushing nature asserts itself strongly in the ever-present deep can green skies, and cold rushing streams. The Western landstreams. The Western landscape as subject matter beforests, said to turbulent represent an embodiment of a kind of romantic expressionscape matter beauty can be on saida to represent embodiment a kind oftranscendent romantic expression-ism its stunning beauty on ismasinsubject its stunning grand scale,an evidence of theofpowerful spirit of the in creative force behind all a grand scale, evidence of the powerful transcendent spirit of the creative force behind all things.” things." "The process that Van Tuinen uses are both ancient and innovative,as she continues to refine her craft to express her vision.

“The process are both ancient innovative,as refine her craft to time express She creditsthat her Van five Tuinen monthsuses in Japn in 1977 withand a leap forward inshe hercontinues techincal to skills. It was at this thather shevision. began She a credits her fivefrom months Japn in 1977 with a printmaking leap forwardinto in her techincal skills. It creating was at this that she beganstudio a transition transition theinprocesses of intaglio painting, eventually an time encaustic process that fromenables the processes of intaglio printmaking painting, eventuallyyetcreating encaustic process studio that enables her to make her to make the best use of this into technically demanding sensualan medium." the best usefrom of this technically sensual (Quote Doug Meyer’sdemanding essay, critic,yet Los Anglesmedium.” 2003) Doug Meyer’s essay, critic, Los Angles 2003

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Morning Light 48” x 60” Oil Encaustic

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Silver Shore 36” x 36” Oil Encaustic

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Transitions 27” x 27” Oil Encaustic

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Autumn Winds 24” x 80” Oil Encaustic Detail ( Right Panel) Collection of Hyatt Regency

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Dusk 48” x 48” Oil Encaustic

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Beach Mediation X 36” x 36” Oil Encaustic

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Beach Meditation / Sunset I 20” x 20” Oil Encaustic

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Summer Sunset Reflections 4” x 36” Oil Encaustic

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Bejeweled Sunset 8” x 18” Oil Encaustic

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Mediterranean Sunset I 20” x 20” Oil Encaustic

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Sudden Turn 20” x 20” Oil Encaustic

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Momentary Fire 20” x 20” Oil Encaustic

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Inner Warmth 36” x 36” Oil Encaustic

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Sardinia Seaside 24” x 76” Oil Encaustic

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The Rose / 3 Panels 48” x 67” Oil Encaustic Windsor Park Hotel - Taiwan

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Beach Meditation / 3 Panels 108” x 19” 108” x 11” 81” x 7” Oil Encaustic Private Collection / Shawn and Pat Berschauer

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Profile for VanTuinenArt

Van Tuinen 2007  

the Art of Debra Van Tuinen

Van Tuinen 2007  

the Art of Debra Van Tuinen

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