B i l l W h i t e E m pa t h y and E n g a g e m e n t

September 29 to December 10, 2011

The Eleanor D. Wilson Museum at Hollins Uni v ersity

Cur ated by A m y G. Moor efield, Museum Director c o n t e n t s

4 Bill White: The A rt of t h e R e a l Bill White: Empathy and Engagement was Publication Director: All rights reserved. No part of this publication by A m y G. Moor ef ield published on the occasion of the exhibition Amy G. Moorefield may be reproduced, stored in a retrieval system organized by the Eleanor D. Wilson Museum or transmitted in any form, or by any means at Hollins University from September 29 to Design: electronic, mechanical, photocopying, recording, 12 December 10, 2011. Anstey Hodge, Roanoke, Virginia or otherwise, without the prior permission of a n d the publisher and copyright holder(s). Bill White: Empa h y Engagement Curated by Amy G. Moorefield, Director of the Editorial Consultant: by jennifer Samet, ph.D. Eleanor D. Wilson Museum at Hollins University Johanna Ruth Epstein, Ph.D. Eleanor D. Wilson Museum at Hollins University Published by the Eleanor D. Wilson Museum Photographers: Post Office Box 9679 28 at Hollins University, Roanoke, Virginia. Richard Boyd, Amy Nance-Pearman 8009 Fishburn Drive A rtist Biography © 2011 Eleanor D. Wilson Museum at Boyd Photography, Roanoke, Virginia Roanoke, Virginia 24020 Hollins University 540.362.6532 Printer: www.hollins.edu/museum 32 Bill White: The Art of the Real Worth Higgins & Associates, © Amy G. Moorefield Richmond, Virginia This publication was funded in part through Ex hibition checklist Roanoke County and by community partner Bill White: Empathy and Engagement All works are courtesy of the artist and support: Anstey Hodge, Roanoke, VA; © Jennifer Samet, Ph.D. lenders noted in the checklist. Worth Higgins & Associates, Richmond, VA; 40 WVTF & Radio IQ; 101.5 the music place; A rtist Ack now ledgements All artwork © Bill White This catalogue was set in New Baskerville, Designed Concrete Surfaces, Roanoke, VA. and was printed four-color process with a dull ISBN-10: 0-9823025-5-X aqueous coating on 100# Endurance Silk Inside front cover and page 40: Bill White in his ISBN-13: 978-0-9823025-5-2 cover and text. studio, 2011. Photos by Richard Boyd. Bill White: The art of the real by Amy G. Moorefield

Bill White is a consummate artist whose paintings imply monumentality, regardless of their actual size. It’s all about the studio coupled with the plein-air experience, the physicality of the paint and the act of painting. In every nuance, his exhibited works emphasize these core values and echo his genuine awareness of life.

Working in oil and oftentimes creating his own paints, In his paintings, color functions as an intrinsically powerful White is foremost a colorist. Saturated and brilliant hues pervade structure; it is a conduit uniting other principle elements— his canvases. In Red Vase (2011), the frenzied crimson of the scale, light, space and the fixed moment.I n his Downtown vase is soothed by the cool cobalt tones articulated in the table. Rooftops I (2011), White’s brilliantly saturated color palette The viewer’s gaze is fixated dead center on the canvas by informs a uniquely attenuated skyscape; one would struggle to the color’s corporeality and is assuaged by the blues mirrored comprehend its subject devoid of color. throughout the composition by way of the rendered screen and echoed by the tonalities of the late afternoon light. Color In 1883, French writer and poet Charles Baudelaire wrote Field artist Jules Olitski sums up the power of color in painting; passionately of the need for painters to abstain from the academic “Painting is made from the inside out. I think of painting traditions of the past. He challenged them instead to seek as possessed by a structure… born of the flow of color feeling. out the beauty in the experience of the everyday. He implored Color in color is felt at any and every place of the pictorial his fellow artists to shift their attention to their own time: Downtown Rooftops I, 2011 organization.”1 Color is a major agent in White’s pictorial arsenal. “the pleasure we derive from the representation of the present Oil on canvas 36 x 66 inches

4 5 is due not only to the beauty with which it can be invested, Hughes “I could never put anything in a picture that wasn’t but also to its essential quality of being present.” 2 A century actually there in front of me. That would be a pointless lie, a mere

and a half later, White leads the pack of artists who understands bit of artfulness.”3 In Studio Light Suite (1993), White captures yet chooses to forgo the modernist traditions of non-objective the trail of shifting light and its residual shadows over a myriad abstraction. Focusing his aesthetic strategy and values of of details present in twelve individual paintings grouped in contemporary painting by working from life, White’s work a grid. In documenting the actual passage of time as translated becomes autobiographical in nature and embraces the by light, he activates the viewer’s interaction with the work.

personality of our time. In Yellow Reflection (2011), White captures The paintings are a bittersweet homage to the notion of memento the character of the studio. We feel but do not perceive mori, reminding us of life’s impermanence. his presence, which then gives us the agency to step into the composition. The objects—a table holding a bowl of fruit, Bill White’s paintings are unabashedly honest testaments to a chair sitting on a rug, positioned in front of a window—are his surroundings. Focusing on perceptual relationships mediated ordinary yet abundantly rendered, echoing a grandeur that with highly evocative fine-tuned color, his works speak of the hearkens back to earlier European painting traditions. ever-evolving tradition of painting from the real. Red Vase I, 2011 Oil on linen 28 x 22 inches 1 olitski, Jules. “Painting in Color,” Artforum, January 1967. American Artists on Unlike photo-derived work, White’s paintings eschew artifice Art from 1940 to 1980. Edited by Ellen H. Johnson (New York: Harper and row Publishers) 50. Yellow Reflection,2011 and he builds form from actuality. His presence is integral to 2 Baudelaire, Charles, The Painter of Modern Life and Other Essays. Translated and Oil on linen edited by Jonathan Manye (London. Phaidon Press, 1964) 1. 48 x 48 inches their making. Lucien Freud once commented to art critic Robert 3 hughes, Robert, Lucien Freud paintings (London. Thames & Hudson Ltd., 1987) 13.

6 7 Studio Light Suite, 1993 Oil on panel 12 panels, each panel 12 x 12 inches Courtesy of the Taubman Museum of Art

8 9 Raking Light, 2008 Oil on canvas October Morning, 2007 18 x 24 inches Oil on linen 36 x 48 inches

10 11 Bill White: Empathy and Engagement by Jennifer Samet, Ph.D.

But I always think that the best way to know God is to love many things. Love a White’s experiences as an art student were the foundation of much knowledge of color itself, but how one used it expressively. friend, a wife, something—whatever you like…. But one must love with a lofty and a life’s work that involves a perceptual process but acknowledges Larry Day would additionally make a huge impression on White. serious intimate sympathy, with strength, with intelligence; and one must always the search for meaningful form as the primary concern. Day shared his discovery, made while transcribing a de Hooch try to know deeper, better, and more. (Vincent Van Gogh, letter 133) He remembers conversations with his teacher Karl Sherman, painting, that a fold in the cloth could be both a paint stroke and a German émigré, at the Philadelphia College of Art, in a a fold: the mark could function as both pure paint and illusion. Bill White recalls, as a child, seeing a Van Gogh exhibition strengthen the work formally. Do not be satisfied by stylization pre-college summer session, about how to make a mark on the This realization allowed White to understand the importance of at the Philadelphia Museum of Art as one of his earliest essential imposed a priori onto the work. In addition, share the knowledge, paper that had structural importance, as opposed to pure a “duality,” rather than an either/or way of thinking about visual experiences. “It took my breath away. The lush paintings with love, with others (in White’s case this has been nearly illusion. Similarly, he was exposed to the idea that abstraction painting and representation. Under Day’s influence, White first of strong color, their vigor and enthusiasm, compared to more forty years of students), and always, give back to the community. and representation were a false dichotomy. Later, he studied worked in a more linear style, but gradually found that a traditional paintings, charged me up.”1 This excitement and He lives near Roanoke, Virginia, where he is Professor with Sidney Goodman and recalls that Goodman’s gift was painterly approach was more liberating, energized the work, visceral pleasure in the seeing and painting process—and the Emeritus at Hollins University. recognizing the central problem in a student’s work. Often, this and prevented emotional restraint. sharing of these enthusiasms—marks the work and life of White. was a predetermined stylization that the student had imposed White’s oeuvre consists of interiors, sometimes with still lives onto the work. Goodman would ask him to rub that out, White’s paintings are exuberant and expansive in their color, Van Gogh’s quotation above speaks to both a way of life and a and figures, landscapes, and more recently, urban rooftop and to look again, closely, at the subject. light, and abundance of form and life. However, they have a perceptual/aesthetic process of identification and empathy, landscapes of Paris and Roanoke, Virginia. White situates himself naturalism and softness that comes from the resistance to stylize a search for knowledge that can always be enriched and is never in terms of a “family tree” of art historical heroes that includes White also studied with Edna Andrade, a hard-edged or rigidly define form.H e refuses the easy route—which satisfied. T his is the same dictum that characterizes White’s Camille Corot, Édouard Vuillard, FairfieldP orter, Nell Blaine abstractionist who taught color theory. Andrade remained a life- would be to generalize or allow a “signature style” to dominate. approach: keep looking, searching for those visual patterns that and Gretna Campbell. long friend to White, and the essence of her teaching was not so Instead, the emphasis is on the translation of perceptual

12 13 Morning Snow, 2010 Oil on linen 28 x 22 inches Winter Snow, 2008 Oil on linen 36 x 48 inches

14 15 experience and the commitment to see and know the subject and it is about empathy, characteristic of Hofmann. Matisse had described a similar process—an empathetic employ the indoor-outdoor/open-window interiors that are more deeply. As White states: If I don’t feel the connection, then I’m making identification with the subject, that was responsible for creating found throughout his oeuvre, but he narrows the focus, closing the painting based on knowledge and experience. “likeness” in a portrait: in on the subject and loosening his touch. I need to wrestle with an experience outside of myself. I really want it to be something that reveals my As soon as I am looking at something and confronting presence and the representation of that experience. I am surprised to see appear on the paper little by little, Although they have a richness of form and visual patterning, that visual pattern, I feel so alive that the whole engagement When those two things intersect, then it is a more or less precise likeness of the person I am with. the paintings are often about what White excludes. He frequently and the painting process seem so meaningful. finished andI ’ll stop.3 The image becomes visible to me as if each line in fragments and crops his views. The absence of something

Immediate experience is the key. It comes from the charcoal was clearing mist from a mirror, mist that up to creates the empathic sense of a one-time presence. Princess II engagement with the outside and inside experience…2 Hans Hofmann used the term “empathy” in his teaching that point had prevented me from seeing the person... puts the organic, curvilinear forms of the plant leaves and and writing, defining it as a process of identification, At the same time, something is born of an interpenetration the cat, curled up asleep on a chair, against the rectangles White also explains the importance of connecting to the visual and also “the intuitive faculty to sense qualities of formal and of feelings that makes us feel the warmth of the of light reflected on the floor.T hese reflections force us to feel experience and how the painting’s unity and depth comes spatial relations, or tensions, and to discover the plastic other’s heart, and this ends in the conclusion of the that looking-down sensation as the compactness of the from this: and psychological qualities of form and color.” 4 Empathy, for painted portrait.6 space creates an unfulfilled desire in us—to look up and out.

Hofmann, implied the ability to find the “art”—the “painterly Similarly, in the Yellow Table paintings, the subject becomes the I am looking for a unity, especially around the issue qualities”—in nature. He also wrote, “The process of As if reflecting a life-long process of eliminating stylization, cup and open book left out—who was reading and drinking? of the light. Does it feel like the light is authentic? seeing is invariably accompanied by feeling projection… White’s more recent paintings are more direct and less reliant We identify with the artist, because there is a sense that he

If it doesn’t, I’ll abandon the painting, take it back out, a psycho-spiritual picture of the world develops within us on the compositional devices he used earlier in his career. too, discovered this recently neglected scene. In Morning Snow, do something on top of it. It is intuitive and felt, that becomes the pictorial basis for creation.” 5 His Princess paintings, and his Yellow Table III and IV paintings as well, White closes in on a small group of trees, the snowy

16 17 ground, and the cast shadows. We are given the vista just from grayish-pink fog in the distance to the deeper blues at right, beyond but not the treetops above, and it is for this reason we attacked with a more painterly touch. The volumes of rooftops, sense that momentary, fleeting connection with one specific including Notre Dame off in the distance, are positioned in spot—as opposed to the indifferent eternal. It also becomes a constant rhythmic intervals, becoming clearer and more direct simple but rich abstract pattern, with the four main trees as they are closer—as if bringing us right into White’s visual acting as dark vertical volumes set against the white ground and painting experience. The gentle yet vigorous touch White with its quickly scumbled tracks, bluish shadows, and the employs is reminiscent of Seymour Remenick, a Hofmann umber patches of uncovered earth. student who lived and painted landscapes and cityscapes around Philadelphia, and who White later came to admire. Similarly,

In the Rooftop paintings, on the other hand, we see only the tops although White recognizes the importance of symbolic color, he of buildings and skies. White began making rooftop paintings never pushes his own palette as far as Van Gogh or Nell Blaine, on a fellowship in Paris in 2010, and continued the practice another Hofmann student whose work is a model for White’s. when he returned to Roanoke. They have a grand orchestration Instead White treads that line, relying on the painterly to Yellow Table III, 2010 Yellow Table IV, 2010 of color and light, and a unity achieved with a touch that is never create meaning and energy. Winter Snow (2008) has a spontaneity Oil on canvas Oil on canvas 12 x 12 inches 12 x 12 inches heavy-handed. In motif and style, they reflect a love ofF rench where we especially feel White’s hand; it unifies the elements painting from Camille Corot to Édouard Guillaumin to Paul of tree branches, clouds, snow and water. All are marked

Cézanne. In the large diptych Paris Rooftops from the Cité (2010), we by a kind of excited line that communicates the discovery of feel atmosphere as much as grandeur: the passage of the sky harmonies of textures and colors in the landscape.

18 19 Paris Rooftops from the Cité, 2010 Oil on linen, 28 x 96 inches 20 21 Louis Finkelstein, the painter and writer, defined the goals Finkelstein believed visual art could capture a synthesis of of many of his peers in the essay “Painterly Representation.” time: past, present, and future, within one image, and felt that He wrote about how the painterly aspects reflect the presence painterly elements specifically call attention to this possibility. and experience of the artist—in fact, an empathetic response White’s paintings, indeed, achieve their power and meaning to subject: this way: the emotional and visual engagement with the subject, the scope and limitations of the vistas, the presences and That kind of representation we call painterly comes into absences, and the temperate touch, which is open yet never being precisely because of this process sense of things. preconceived. The time which is transfixed is not the outward time of day or even the process of laying on the paint so as to 1 Bill White, interview by author, digital voice recording, 12 March 2011, Roanoke, VA. produce virtuosic marks of the process, but rather the 2 ibid. 3 ibid. flowing of consciousness in interaction with first the 4 hans Hofmann, “Terms,” in The Search for the Real and Other Essays, ed. Bartlett Hayes and Sara T. Weeks (Andover, Mass: Addison Gallery of resistances and challenges which the world of appearances american Art, 1948; reprint Cambridge: MIT Press, 1983), 77. 5 hans Hofmann, The Painter’s Primer: Form and Color in the Creative Process presents to our grasp, and secondly with the ways pictorial (IIIrd German Version) (Archives of American Art, New York and Washington, D.C.). language itself generates metaphors of the meanings 6 henri Matisse, Portraits (Monte-Carlo: Andre Sauret, 1954), 15-16. 7 louis Finkelstein, “Painterly Representation,” in Painterly Representation of things and of state of mind.7 (New York: Ingber Gallery, 1975).

Princess II, 2009 Oil on canvas 36 x 48 inches 22 23 Notre Dame Rooftops, 2010 Pen and walnut ink wash on paper 6 x 18 inches

St Paul’s Rooftops from the Cité, 2010 St Paul’s Rooftops, 2010 Oil on linen Pen and walnut ink wash on paper 28 x 36 inches 6 x 18 inches 24 25 Taubman View #1: Hotel Roanoke, 2011 Taubman View #2: Civic Center, 2011 Taubman View #3: N&W Shops, 2011 Taubman View #4: H&C Coffee, 2011 Oil on canvas Oil on canvas Oil on canvas Oil on canvas 24 x 48 inches 24 x 48 inches 24 x 48 inches 24 x 48 inches

26 27 B i l l W h i t e

EDUCATION MFA, Tyler School of Art, Temple University 1969 BFA, (Philadelphia College of Art) University of the Arts 1967

TEACHING Hollins University, Professor Emeritus 2010 H hollins University, Professor of Art 1971-2010 I indiana University 1970-71

GRANTS Cabell Foundation, Sabbatical Projects 2006, ’00, 1992, ’86 P president Gray’s Fund, Hollins University 2005 M mellon Foundation, Travel/Study 1985, ’81, ’78, ’74 F ford Foundation, Travel/Study 1972 I indiana University Summer Research Stipend 1970

HONORS Zeuxis, Contemporary Still Life Painters, Guest Artist 2006, 1999 H herta Frietag Faculty Award, Hollins University 2000 H hollins Distinguished Service Award 1995 O omicron Delta Kappa, Hollins University Chapter 1987 V virginia Watercolor Society, Artist Member 1986

RESIDENCIES Cité Internationale des Arts, Paris, France 2010 V vermont Studio Center, Johnson, vt 1999, ’92

Pond View - Summer, 2007 Oil on canvas 44 x 46 inches

28 29 EXHIBITIONS Selected Solo and Duo Exhibitions Light & Landscapes—Reflections of Italy, Wayne Art Center, Wayne, pa 2003 Bill White: Empathy and Engagement, Eleanor D. Wilson Museum 2011 Plein-air Revisited, The College of William & Mary, Andrews Gallery, Williamsburg, va 2002 at Hollins University, Roanoke, VA The Summer Show, Gross McCleaf Gallery, Philadelphia, PA 2000 Bill White & Jan Knipe, Recent Landscapes, Ferrum College, Ferrum, va 2010 Jane Piper & Philadelphia Colorists, State Museum of Pennsylvania, Harrisburg, pa 2000 Bill White: Paintings from Italy, Washington & Lee University, Lexington, va 2008 Landscape in Virginia, Virginia Historical Society, Richmond, va 2000 The Four Seasons, Warm Springs Gallery, Warm Springs, VA 2008 Virginia Artists, State Capitol, Richmond, VA 2000, 1999, ’97, ’95 Painting the View, White Canvas Gallery, Richmond, VA 2008 Darkness & Light—Contemporary Landscape Painting, 1999 Paintings from England, Eleanor D. Wilson Museum at Hollins University, Roanoke, va 2008 art Museum of Western Virginia, Roanoke, VA Linda & Bill White, Close to Home & Far Away, Mill Stone Gallery, Fincastle, VA 2006 Jack Beal & Hollins Art Faculty, Art Museum of Western Virginia, Roanoke, VA 1996 Bill White: Recent Landscapes, Thomasville Cultural Center, Thomasville, ga 2005 Contemporary Virginia Realists, 2nd Street Gallery, Charlottesville, va 1995 Paintings from Mountain Pass, Mill Stone Gallery, Fincastle, VA 2004 V virginia Watercolor Society 1991, ’89, ’88, ’87, ’84, ’83 Recent Landscapes, Warm Springs Gallery, Warm Springs, VA 2003 C contemporary Art Group and Symposium, Roanoke College, Salem, va 1990 Linda & Bill White, Fictions of Time and Place, Piedmont Arts Association, Martinsville, VA 2003 O olin Gallery, Roanoke College, Salem, VA 2001 Traveling Exhibitions P piedmont Virginia Community College, Charlottesville, VA 2001 Zeuxis: Facets of Perception, a group show of still life painters 2007, ’06 C college of Southern Maryland, La Plata, MD 2000 traveled to five venues in theU S Bowery Gallery Invitational, New York, NY 2000 Zeuxis: Still Life: The Human Presence, a group show of still life painters 2000, 1999 C cudahy’s Gallery, Richmond, VA 1999, ’97, ’95 traveled to five venues in theU S C courtyard Gallery, Washington Studio School, Washington, DC 1998, ’96 Drawing in Virginia—Circulated through the Virginia Museum of Fine Arts, 1992 -’89 L longwood Center for the Visual Arts, Farmville, VA 1996 richmond, VA, 15 Museums & Galleries in Virginia V victor Huggins Gallery, Roanoke, VA 1993 N northern Iowa University, Cedar Falls, IA 1993 SELECTED PUBLIC Atlantic Credit & Finance Inc., Roanoke, VA C chelsea Gallery, Western Carolina University, Culhowee, NC 1992 COLLECTIONS Carilion Clinic, Roanoke, VA T the College of William & Mary, Williamsburg, VA 1991 G garth Newel Music Center, Warm Springs, VA N noel Butcher Gallery, Philadelphia, PA 1984 James River Coal Company, Richmond, VA E eleanor D. Wilson Museum at Hollins University, Roanoke, VA Invitational and Juried Exhibitions H hotel Roanoke and Conference Center, Roanoke, VA Nature & the Non-Objective, Taubman Museum of Art, Roanoke, va 2011 H henry Hope Art Museum, Indiana University, Bloomington, IN Olin Gallery Biennial, Roanoke College, Salem, VA 2011, ’07, ’00, 1998, ’96, ’94, ’90 K keystone College, La Plume, PA Chica’s Choice, North Gallery PVCC, Charlottesville, VA 2008 L longwood College Center for the Visual Arts, Farmville, VA Pictorial Strategies, Andrews Gallery, The College of William & Mary, Williamsburg, va 2007 R roanoke College, Salem, VA Mountains and Rivers, Warm Springs Gallery, Warm Springs, va 2005 State Museum of Pennsylvania, Harrisburg, PA 7 Views, Riverview’s Artspace, Lynchburg, VA 2005 St. Mary’s College of Maryland, St. Mary’s, MD Faces of the Fallen, Arlington National Cemetery, Washington, Dc 2005 T taubman Museum of Art, Roanoke, VA 32nd Annual Juried Competition, Masur Museum of Art, Monroe, la 2005 V virginia Commonwealth University Medical Center, Richmond, VA Within Our Borders—The Virginia Landscape, Hermitage Foundation, Norfolk, va 2004 V virginia State Bar Association, Richmond, VA George Nick Selects, Concord Art Association, Concord, MA 2004, ’01 V virginia Western Community College, Roanoke, VA Sense of Place, Art Museum of Western Virginia, Roanoke, VA 2003 Washington & Lee University, Williams School of Economics, Lexington, VA

30 31 E X H I B I T I O N Studio Light Suite, 1993 Pond View - Summer, 2007 Princess II, 2009 St Paul’s Rooftops, 2010 Paris Rooftops from the Cité, 2010 Yellow Table IV, 2010 Looking South, 2011 Pen and walnut ink wash on paper Oil on linen Oil on canvas Oil on canvas C hec k list Oil on panel Oil on canvas Oil on canvas 12 panels, each panel 12 x 12 inches 44 x 46 inches 36 x 48 inches 6 x 18 inches 28 x 96 inches 12 x 12 inches 12 x 12 inches Courtesy of the Taubman Museum Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist of Art; Given in Loving Memory of Betty Bomberger from the Docent October Morning, 2007 Gray Afternoon Notre Dame, 2010 St Paul’s Rooftops from the Cité, 2010 Paris Rooftops from the Cité II, 2010 Green Table, 2011 The Tower, 2011 Guild of the Art Museum of Western Oil on linen Oil on panel Oil on linen Oil on paper Oil on linen Oil on canvas Virginia, 1993.012.001-.012 36 x 48 inches 8 x 6 inches 28 x 36 inches 11 x 30 inches 48 x 48 inches 12 x 12 inches Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Christmas I - IV, 1997 Oil on panel Winter Snow, 2008 Pont D’Arcol, 2010 Notre Dame Rooftops, 2010 Morning Snow, 2010 Yellow Reflection,2011 Taubman View #1: Hotel Roanoke, 2011 4 panels, each panel 12 x 12 inches Oil on linen Pen and walnut ink wash on paper Pen and walnut ink wash on paper Oil on linen Oil on linen Oil on canvas Courtesy of Wilbur and 36 x 48 inches 6 x 9 inches 6 x 18 inches 28 x 22 inches 48 x 48 inches 24 x 48 inches Lucy Hazlegrove Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist

Spring Time, 2002 Spring Apple Blossoms, 2008 Pont Marie, 2010 Hotel de Ville, 2010 Studio, 2010 Red Vase I, 2011 Taubman View #2: Civic Center, 2011 Oil on linen Oil on linen Pen and walnut ink wash on paper Oil on panel Oil on canvas Oil on linen Oil on canvas 32 x 24 inches 38 x 46 inches 6 x 9 inches 6 x 8 inches 36 x 36 inches 28 x 22 inches 24 x 48 inches Courtesy of the Honorable Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Ray W. Grubbs and Betsy Grubbs Raking Light, 2008 Pont Neuf, 2010 Hotel Dieu, 2010 Oranges I, 2010 Red Vase II, 2011 Taubman View #3: N&W Shops, 2011 James River - Afternoon, 2003 Oil on canvas Pen and walnut ink wash on paper Oil on panel Oil on canvas Oil on canvas Oil on canvas Oil on linen 18 x 24 inches 6 x 9 inches 6 x 8 inches 30 x 30 inches 12 x 12 inches 24 x 48 inches 44 x 50 inches Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of Richard Woolwine and Atlantic Credit and Finance, Inc. Waterfall, 2009 Pont Tournelle, 2010 Place du Vosges - Rooftops I, 2010 Yellow Table III, 2010 Downtown Rooftops I, 2011 Taubman View #4: H&C Coffee, 2011 Oil on linen Pen and walnut ink wash on paper Oil on panel Oil on canvas Oil on canvas Oil on canvas James River - Morning, 2003 60 x 40 inches 6 x 9 inches 6 x 8 inches 12 x 12 inches 36 x 66 inches 24 x 48 inches Oil on linen Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist Courtesy of the artist 44 x 50 inches Courtesy of Richard Woolwine and Princess I, 2009 Place du Vosges - Rooftops II, 2010 Downtown Rooftops II, 2011 Atlantic Credit and Finance, Inc. Oil on linen Oil on panel Oil on canvas 60 x 40 inches 6 x 8 inches 24 x 48 inches Courtesy of the artist Courtesy of the artist Courtesy of the artist

32 33 Place du Vosges - Rooftops I, 2010 Place du Vosges - Rooftops II, 2010 Oil on panel Oil on panel 6 x 8 inches 6 x 8 inches

Downtown Rooftops II, 2011 Oil on canvas 24 x 48 inches

34 35 Princess I, 2009 Waterfall, 2009 Oil on linen Oil on linen 60 x 40 inches 60 x 40 inches

36 37 Oranges I, 2010 Studio, 2010 Oil on canvas Oil on canvas 30 x 30 inches 36 x 36 inches

38 39 A c k no w ledge m ents

My gratitude is extended to the following individuals and institutions for their gracious assistance and support in making this exhibition possible: Hollins University; the Eleanor D. Wilson Museum at Hollins University’s staff and its Director Amy G. Moorefield;E d and Katherine Walker; the lenders to the exhibition: the Taubman Museum of Art, Lucy and Wilbur Hazlegrove, Richard Woolwine and Atlantic Credit and Finance, Inc., and the Honorable Ray W. Grubbs and Betsy Grubbs; Jennifer Samet for her fine essay; my wifeL inda for her ongoing support of my life-long adventure as a painter; and to my colleagues at Hollins University.

Bill White’s (to scale) maquette of his exhibition 2010

40 T h e E l e a n o r D . W i l s o n M u s e u m