El Barrio, Ronda
Signed and dated watercolour with pencil.
From the very early years of Gross’ career translucent watercolour were a major preoccupation, used to describe the many places at home and abroad where he sought inspiration. In informal scenes of Villeneuve garden picnics and pastoral outings, his descriptive line is typically light and lyrical: freely drawn, it dances over the page, looping around luminous patches of watercolour wash that shimmer like stained glass.
In even Gross’ most expansive landscapes, the viewer is often treated to peculiar details, animals, characters, flowers and plants hidden amongst overlapping pen strokes. To the eye of Rigby Graham, a near contemporary and fellow topographer, these form part of a gentle wit in Gross’ work that continues to delight: ‘His love of detail, of snails, insects, beetles, dogs and small children create a feast of texture which enriches the overall image and at the same time can be read as asides, stage directions, or seen as a reflection of all the extraneous detail of life in street, pier or park. Gross’ whimsical Gallic view is as rich as bouillabaisse.’
From the very early years of Gross’ career translucent watercolour were a major preoccupation, used to describe the many places at home and abroad where he sought inspiration. In informal scenes of Villeneuve garden picnics and pastoral outings, his descriptive line is typically light and lyrical: freely drawn, it dances over the page, looping around luminous patches of watercolour wash that shimmer like stained glass.
In even Gross’ most expansive landscapes, the viewer is often treated to peculiar details, animals, characters, flowers and plants hidden amongst overlapping pen strokes. To the eye of Rigby Graham, a near contemporary and fellow topographer, these form part of a gentle wit in Gross’ work that continues to delight: ‘His love of detail, of snails, insects, beetles, dogs and small children create a feast of texture which enriches the overall image and at the same time can be read as asides, stage directions, or seen as a reflection of all the extraneous detail of life in street, pier or park. Gross’ whimsical Gallic view is as rich as bouillabaisse.’
$4,992.31
El Barrio, Ronda—
$4,992.31
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Description
Signed and dated watercolour with pencil.
From the very early years of Gross’ career translucent watercolour were a major preoccupation, used to describe the many places at home and abroad where he sought inspiration. In informal scenes of Villeneuve garden picnics and pastoral outings, his descriptive line is typically light and lyrical: freely drawn, it dances over the page, looping around luminous patches of watercolour wash that shimmer like stained glass.
In even Gross’ most expansive landscapes, the viewer is often treated to peculiar details, animals, characters, flowers and plants hidden amongst overlapping pen strokes. To the eye of Rigby Graham, a near contemporary and fellow topographer, these form part of a gentle wit in Gross’ work that continues to delight: ‘His love of detail, of snails, insects, beetles, dogs and small children create a feast of texture which enriches the overall image and at the same time can be read as asides, stage directions, or seen as a reflection of all the extraneous detail of life in street, pier or park. Gross’ whimsical Gallic view is as rich as bouillabaisse.’
From the very early years of Gross’ career translucent watercolour were a major preoccupation, used to describe the many places at home and abroad where he sought inspiration. In informal scenes of Villeneuve garden picnics and pastoral outings, his descriptive line is typically light and lyrical: freely drawn, it dances over the page, looping around luminous patches of watercolour wash that shimmer like stained glass.
In even Gross’ most expansive landscapes, the viewer is often treated to peculiar details, animals, characters, flowers and plants hidden amongst overlapping pen strokes. To the eye of Rigby Graham, a near contemporary and fellow topographer, these form part of a gentle wit in Gross’ work that continues to delight: ‘His love of detail, of snails, insects, beetles, dogs and small children create a feast of texture which enriches the overall image and at the same time can be read as asides, stage directions, or seen as a reflection of all the extraneous detail of life in street, pier or park. Gross’ whimsical Gallic view is as rich as bouillabaisse.’
