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 elea nor D. W ilSon muSeum at hollinS uni v erSity

cur ateD by a m y g. moor efielD, muSeum Dir ector

Bill White: Empathy and Engagement was published on the occasion of the exhibition organized by the eleanor D. Wilson museum at hollins university from September 29 to December 10, 2011.

curated by amy g. moorefield, Director of the eleanor D. Wilson museum at hollins university

published by the eleanor D. Wilson museum at hollins university, roanoke, virginia. © 2011 eleanor D. Wilson museum at hollins university

Bill White: The Art of the Real © amy g. moorefield

Bill White: Empathy and Engagement © Jennifer Samet, ph.D.

all artwork © Bill White

iSBn-10: 0-9823025-5-XiSBn-13: 978-0-9823025-5-2

publication Director: amy g. moorefield

Design: anstey hodge, roanoke, virginia

editorial consultant: Johanna ruth epstein, ph.D.

photographers: richard Boyd, amy nance-pearmanBoyd photography, roanoke, virginia

printer:Worth higgins & associates, richmond, virginia all works are courtesy of the artist and lenders noted in the checklist.

this catalogue was set in new Baskerville, and was printed four-color process with a dull aqueous coating on 100# endurance Silk cover and text.

all rights reserved. no part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publisher and copyright holder(s).

eleanor D. Wilson museum at hollins university post office Box 96798009 fishburn Driveroanoke, virginia 24020540.362.6532 www.hollins.edu/museum

this publication was funded in part through roanoke county and by community partner support: anstey hodge, roanoke, va; Worth higgins & associates, richmond, va; Wvtf & radio iQ; 101.5 the music place; Designed concrete Surfaces, roanoke, va.

inside front cover and page 40: Bill White in his studio, 2011. photos by richard Boyd.

c o n t e n t S

4 Bill W hite: the a rt of t h e r e a l

b y a m y g. moor ef ielD

12 Bill W hite: empa h y a n d engagement

b y Jen nif er Sa met, ph.D.

28 a rtiSt Biogr a ph y

32 eX hiBition check liSt

40 a rtiSt ack noW leDgementS

4 5

Working in oil and oftentimes creating his own paints,

White is foremost a colorist. Saturated and brilliant hues pervade

his canvases. in Red Vase (2011), the frenzied crimson of the

vase is soothed by the cool cobalt tones articulated in the table.

the viewer’s gaze is fixated dead center on the canvas by

the color’s corporeality and is assuaged by the blues mirrored

throughout the composition by way of the rendered screen

and echoed by the tonalities of the late afternoon light. color

field artist Jules olitski sums up the power of color in painting;

“painting is made from the inside out. i think of painting

as possessed by a structure… born of the flow of color feeling.

color in color is felt at any and every place of the pictorial

organization.”1 color is a major agent in White’s pictorial arsenal.

in his paintings, color functions as an intrinsically powerful

structure; it is a conduit uniting other principle elements—

scale, light, space and the fixed moment. in his Downtown

Rooftops I (2011), White’s brilliantly saturated color palette

informs a uniquely attenuated skyscape; one would struggle to

comprehend its subject devoid of color.

in 1883, french writer and poet charles Baudelaire wrote

passionately of the need for painters to abstain from the academic

traditions of the past. he challenged them instead to seek

out the beauty in the experience of the everyday. he implored

his fellow artists to shift their attention to their own time:

“the pleasure we derive from the representation of the present

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.

Downtown Rooftops I, 2011oil on canvas36 x 66 inches

6 7

is due not only to the beauty with which it can be invested,

but also to its essential quality of being present.”2 a century

and a half later, White leads the pack of artists who understands

yet chooses to forgo the modernist traditions of non-objective

abstraction. focusing his aesthetic strategy and values of

contemporary painting by working from life, White’s work

becomes autobiographical in nature and embraces the

personality of our time. in Yellow Reflection (2011), White captures

the character of the studio. We feel but do not perceive

his presence, which then gives us the agency to step into the

composition. the objects—a table holding a bowl of fruit,

a chair sitting on a rug, positioned in front of a window—are

ordinary yet abundantly rendered, echoing a grandeur that

hearkens back to earlier european painting traditions.

unlike photo-derived work, White’s paintings eschew artifice

and he builds form from actuality. his presence is integral to

their making. lucien freud once commented to art critic robert

hughes “i could never put anything in a picture that wasn’t

actually there in front of me. that would be a pointless lie, a mere

bit of artfulness.”3 in Studio Light Suite (1993), White captures

the trail of shifting light and its residual shadows over a myriad

of details present in twelve individual paintings grouped in

a grid. in documenting the actual passage of time as translated

by light, he activates the viewer’s interaction with the work.

the paintings are a bittersweet homage to the notion of memento

mori, reminding us of life’s impermanence.

Bill White’s paintings are unabashedly honest testaments to

his surroundings. focusing on perceptual relationships mediated

with highly evocative fine-tuned color, his works speak of the

ever-evolving tradition of painting from the real.

1 olitski, Jules. “painting in color,” Artforum, January 1967. American Artists on Art from 1940 to 1980. edited by ellen h. Johnson (new york: harper and row publishers) 50.2 Baudelaire, charles, The Painter of Modern Life and Other Essays. translated and edited by Jonathan manye (london. phaidon press, 1964) 1.3 hughes, robert, Lucien Freud paintings (london. thames & hudson ltd., 1987) 13.

Red Vase I, 2011oil on linen28 x 22 inches

Yellow Reflection, 2011oil on linen48 x 48 inches

8 9

Studio Light Suite, 1993oil on panel12 panels, each panel 12 x 12 inchescourtesy of the taubman museum of art

10 11

October Morning, 2007oil on linen36 x 48 inches

Raking Light, 2008oil on canvas18 x 24 inches

12 13

Bill White recalls, as a child, seeing a van gogh exhibition

at the philadelphia museum of art as one of his earliest essential

visual experiences. “it took my breath away. the lush paintings

of strong color, their vigor and enthusiasm, compared to more

traditional paintings, charged me up.”1 this excitement and

visceral pleasure in the seeing and painting process—and the

sharing of these enthusiasms—marks the work and life of White.

van gogh’s quotation above speaks to both a way of life and a

perceptual/aesthetic process of identification and empathy,

a search for knowledge that can always be enriched and is never

satisfied. this is the same dictum that characterizes White’s

approach: keep looking, searching for those visual patterns that

strengthen the work formally. Do not be satisfied by stylization

imposed a priori onto the work. in addition, share the knowledge,

with love, with others (in White’s case this has been nearly

forty years of students), and always, give back to the community.

he lives near roanoke, virginia, where he is professor

emeritus at hollins university.

White’s oeuvre consists of interiors, sometimes with still lives

and figures, landscapes, and more recently, urban rooftop

landscapes of paris and roanoke, virginia. White situates himself

in terms of a “family tree” of art historical heroes that includes

camille corot, Édouard vuillard, fairfield porter, nell Blaine

and gretna campbell.

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 friend, a wife, something—whatever you like…. But one must love with a lofty and serious intimate sympathy, with strength, with intelligence; and one must always try to know deeper, better, and more. (Vincent Van Gogh, letter 133)

White’s experiences as an art student were the foundation of

a life’s work that involves a perceptual process but acknowledges

the search for meaningful form as the primary concern.

he remembers conversations with his teacher karl Sherman,

a german émigré, at the philadelphia college of art, in a

pre-college summer session, about how to make a mark on the

paper that had structural importance, as opposed to pure

illusion. Similarly, he was exposed to the idea that abstraction

and representation were a false dichotomy. later, he studied

with Sidney goodman and recalls that goodman’s gift was

recognizing the central problem in a student’s work. often, this

was a predetermined stylization that the student had imposed

onto the work. goodman would ask him to rub that out,

and to look again, closely, at the subject.

White also studied with edna andrade, a hard-edged

abstractionist who taught color theory. andrade remained a life-

long friend to White, and the essence of her teaching was not so

much knowledge of color itself, but how one used it expressively.

larry Day would additionally make a huge impression on White.

Day shared his discovery, made while transcribing a de hooch

painting, that a fold in the cloth could be both a paint stroke and

a fold: the mark could function as both pure paint and illusion.

this realization allowed White to understand the importance of

a “duality,” rather than an either/or way of thinking about

painting and representation. under Day’s influence, White first

worked in a more linear style, but gradually found that a

painterly approach was more liberating, energized the work,

and prevented emotional restraint.

White’s paintings are exuberant and expansive in their color,

light, and abundance of form and life. however, they have a

naturalism and softness that comes from the resistance to stylize

or rigidly define form. he refuses the easy route—which

would be to generalize or allow a “signature style” to dominate.

instead, the emphasis is on the translation of perceptual

14 15

Morning Snow, 2010oil on linen28 x 22 inches

Winter Snow, 2008oil on linen36 x 48 inches

16 17

experience and the commitment to see and know the subject

more deeply. as White states:

i need to wrestle with an experience outside of myself.

as soon as i am looking at something and confronting

that visual pattern, i feel so alive that the whole engagement

and the painting process seem so meaningful.

immediate experience is the key. it comes from the

engagement with the outside and inside experience…2

White also explains the importance of connecting to the visual

experience and how the painting’s unity and depth comes

from this:

i am looking for a unity, especially around the issue

of the light. Does it feel like the light is authentic?

if it doesn’t, i’ll abandon the painting, take it back out,

do something on top of it. it is intuitive and felt,

and it is about empathy, characteristic of hofmann.

if i don’t feel the connection, then i’m making

the painting based on knowledge and experience.

i really want it to be something that reveals my

presence and the representation of that experience.

When those two things intersect, then it is

finished and i’ll stop.3

hans hofmann used the term “empathy” in his teaching

and writing, defining it as a process of identification,

and also “the intuitive faculty to sense qualities of formal and

spatial relations, or tensions, and to discover the plastic

and psychological qualities of form and color.”4 empathy, for

hofmann, implied the ability to find the “art”—the “painterly

qualities”—in nature. he also wrote, “the process of

seeing is invariably accompanied by feeling projection…

a psycho-spiritual picture of the world develops within us

that becomes the pictorial basis for creation.” 5

matisse had described a similar process—an empathetic

identification with the subject, that was responsible for creating

“likeness” in a portrait:

i am surprised to see appear on the paper little by little,

a more or less precise likeness of the person i am with.

the image becomes visible to me as if each line in

charcoal was clearing mist from a mirror, mist that up to

that point had prevented me from seeing the person...

at the same time, something is born of an interpenetration

of feelings that makes us feel the warmth of the

other’s heart, and this ends in the conclusion of the

painted portrait.6

as if reflecting a life-long process of eliminating stylization,

White’s more recent paintings are more direct and less reliant

on the compositional devices he used earlier in his career.

his Princess paintings, and his Yellow Table III and IV paintings

employ the indoor-outdoor/open-window interiors that are

found throughout his oeuvre, but he narrows the focus, closing

in on the subject and loosening his touch.

although they have a richness of form and visual patterning,

the paintings are often about what White excludes. he frequently

fragments and crops his views. the absence of something

creates the empathic sense of a one-time presence. Princess II

puts the organic, curvilinear forms of the plant leaves and

the cat, curled up asleep on a chair, against the rectangles

of light reflected on the floor. these reflections force us to feel

that looking-down sensation as the compactness of the

space creates an unfulfilled desire in us—to look up and out.

Similarly, in the Yellow Table paintings, the subject becomes the

cup and open book left out—who was reading and drinking?

We identify with the artist, because there is a sense that he

too, discovered this recently neglected scene. in Morning Snow,

as well, White closes in on a small group of trees, the snowy

18 19

Yellow Table III, 2010oil on canvas12 x 12 inches

Yellow Table IV, 2010oil on canvas12 x 12 inches

ground, and the cast shadows. We are given the vista just

beyond but not the treetops above, and it is for this reason we

sense that momentary, fleeting connection with one specific

spot—as opposed to the indifferent eternal. it also becomes a

simple but rich abstract pattern, with the four main trees

acting as dark vertical volumes set against the white ground

with its quickly scumbled tracks, bluish shadows, and the

umber patches of uncovered earth.

in the Rooftop paintings, on the other hand, we see only the tops

of buildings and skies. White began making rooftop paintings

on a fellowship in paris in 2010, and continued the practice

when he returned to roanoke. they have a grand orchestration

of color and light, and a unity achieved with a touch that is never

heavy-handed. in motif and style, they reflect a love of french

painting from camille corot to Édouard guillaumin to paul

cézanne. in the large diptych Paris Rooftops from the Cité (2010), we

feel atmosphere as much as grandeur: the passage of the sky

from grayish-pink fog in the distance to the deeper blues at right,

attacked with a more painterly touch. the volumes of rooftops,

including notre Dame off in the distance, are positioned in

constant rhythmic intervals, becoming clearer and more direct

as they are closer—as if bringing us right into White’s visual

and painting experience. the gentle yet vigorous touch White

employs is reminiscent of Seymour remenick, a hofmann

student who lived and painted landscapes and cityscapes around

philadelphia, and who White later came to admire. Similarly,

although White recognizes the importance of symbolic color, he

never pushes his own palette as far as van gogh or nell Blaine,

another hofmann student whose work is a model for White’s.

instead White treads that line, relying on the painterly to

create meaning and energy. Winter Snow (2008) has a spontaneity

where we especially feel White’s hand; it unifies the elements

of tree branches, clouds, snow and water. all are marked

by a kind of excited line that communicates the discovery of

harmonies of textures and colors in the landscape.

20 21

Paris Rooftops from the Cité, 2010oil on linen, 28 x 96 inches

22 23

Princess II, 2009oil on canvas36 x 48 inches

louis finkelstein, the painter and writer, defined the goals

of many of his peers in the essay “painterly representation.”

he wrote about how the painterly aspects reflect the presence

and experience of the artist—in fact, an empathetic response

to subject:

that kind of representation we call painterly comes into

being precisely because of this process sense of things.

the time which is transfixed is not the outward time

of day or even the process of laying on the paint so as to

produce virtuosic marks of the process, but rather the

flowing of consciousness in interaction with first the

resistances and challenges which the world of appearances

presents to our grasp, and secondly with the ways pictorial

language itself generates metaphors of the meanings

of things and of state of mind.7

finkelstein believed visual art could capture a synthesis of

time: past, present, and future, within one image, and felt that

painterly elements specifically call attention to this possibility.

White’s paintings, indeed, achieve their power and meaning

this way: the emotional and visual engagement with the subject,

the scope and limitations of the vistas, the presences and

absences, and the temperate touch, which is open yet never

preconceived.

1 Bill White, interview by author, digital voice recording, 12 march 2011, roanoke, va.2 ibid.3 ibid.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 american art, 1948; reprint cambridge: mit press, 1983), 77.5 hans hofmann, The Painter’s Primer: Form and Color in the Creative Process (IIIrd German Version) (archives of american art, new york and Washington, D.c.).6 henri matisse, Portraits (monte-carlo: andre Sauret, 1954), 15-16.7 louis finkelstein, “painterly representation,” in Painterly Representation (new york: ingber gallery, 1975).

24 25

St Paul’s Rooftops from the Cité, 2010oil on linen28 x 36 inches

Notre Dame Rooftops, 2010pen and walnut ink wash on paper6 x 18 inches

St Paul’s Rooftops, 2010pen and walnut ink wash on paper6 x 18 inches

26 27

Taubman View #1: Hotel Roanoke, 2011oil on canvas24 x 48 inches

Taubman View #2: Civic Center, 2011oil on canvas24 x 48 inches

Taubman View #3: N&W Shops, 2011oil on canvas24 x 48 inches

Taubman View #4: H&C Coffee, 2011oil on canvas24 x 48 inches

28 29

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 hollins university, professor of art 1971-2010 indiana university 1970-71

GRANTS cabell foundation, Sabbatical projects 2006, ’00, 1992, ’86 president gray’s fund, hollins university 2005 mellon foundation, travel/Study 1985, ’81, ’78, ’74 ford foundation, travel/Study 1972 indiana university Summer research Stipend 1970

HONORS Zeuxis, contemporary Still life painters, guest artist 2006, 1999 herta frietag faculty award, hollins university 2000 hollins Distinguished Service award 1995 omicron Delta kappa, hollins university chapter 1987 virginia Watercolor Society, artist member 1986

RESIDENCIES cité internationale des arts, paris, france 2010 vermont Studio center, Johnson, vt 1999, ’92

B i l l W h i t e

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

30 31

Light & Landscapes—Reflections of Italy, Wayne art center, Wayne, pa 2003 Plein-air Revisited, the college of William & mary, andrews gallery, Williamsburg, va 2002 The Summer Show, gross mccleaf gallery, philadelphia, pa 2000 Jane Piper & Philadelphia Colorists, State museum of pennsylvania, harrisburg, pa 2000 Landscape in Virginia, virginia historical Society, richmond, va 2000 Virginia Artists, State capitol, richmond, va 2000, 1999, ’97, ’95 Darkness & Light—Contemporary Landscape Painting, 1999 art museum of Western virginia, roanoke, va Jack Beal & Hollins Art Faculty, art museum of Western virginia, roanoke, va 1996 Contemporary Virginia Realists, 2nd Street gallery, charlottesville, va 1995 virginia Watercolor Society 1991, ’89, ’88, ’87, ’84, ’83 contemporary art group and Symposium, roanoke college, Salem, va 1990

TravelingExhibitions Zeuxis: Facets of Perception, a group show of still life painters 2007, ’06 traveled to five venues in the uS Zeuxis: Still Life: The Human Presence, a group show of still life painters 2000, 1999 traveled to five venues in the uS Drawing in Virginia—circulated through the virginia museum of fine arts, 1992 -’89 richmond, va, 15 museums & galleries in virginia

SELECTEDPUBLIC atlantic credit & finance inc., roanoke, vaCOLLECTIONS carilion clinic, roanoke, va garth newel music center, Warm Springs, va James river coal company, richmond, va eleanor D. Wilson museum at hollins university, roanoke, va hotel roanoke and conference center, roanoke, va henry hope art museum, indiana university, Bloomington, in keystone college, la plume, pa longwood college center for the visual arts, farmville, va roanoke college, Salem, va State museum of pennsylvania, harrisburg, pa St. mary’s college of maryland, St. mary’s, mD taubman museum of art, roanoke, va virginia commonwealth university medical center, richmond, va virginia State Bar association, richmond, va virginia Western community college, roanoke, va Washington & lee university, Williams School of economics, lexington, va

EXHIBITIONS SelectedSoloandDuoExhibitions Bill White: Empathy and Engagement, eleanor D. Wilson museum 2011 at hollins university, roanoke, va Bill White & Jan Knipe, Recent Landscapes, ferrum college, ferrum, va 2010 Bill White: Paintings from Italy, Washington & lee university, lexington, va 2008 The Four Seasons, Warm Springs gallery, Warm Springs, va 2008 Painting the View, White canvas gallery, richmond, va 2008 Paintings from England, eleanor D. Wilson museum at hollins university, roanoke, va 2008 Linda & Bill White, Close to Home & Far Away, mill Stone gallery, fincastle, va 2006 Bill White: Recent Landscapes, thomasville cultural center, thomasville, ga 2005 Paintings from Mountain Pass, mill Stone gallery, fincastle, va 2004 Recent Landscapes, Warm Springs gallery, Warm Springs, va 2003 Linda & Bill White, Fictions of Time and Place, piedmont arts association, martinsville, va 2003 olin gallery, roanoke college, Salem, va 2001 piedmont virginia community college, charlottesville, va 2001 college of Southern maryland, la plata, mD 2000 Bowery gallery invitational, new york, ny 2000 cudahy’s gallery, richmond, va 1999, ’97, ’95 courtyard gallery, Washington Studio School, Washington, Dc 1998, ’96 longwood center for the visual arts, farmville, va 1996 victor huggins gallery, roanoke, va 1993 northern iowa university, cedar falls, ia 1993 chelsea gallery, Western carolina university, culhowee, nc 1992 the college of William & mary, Williamsburg, va 1991 noel Butcher gallery, philadelphia, pa 1984

InvitationalandJuriedExhibitions Nature & the Non-Objective, taubman museum of art, roanoke, va 2011 Olin Gallery Biennial, roanoke college, Salem, va 2011, ’07, ’00, 1998, ’96, ’94, ’90 Chica’s Choice, north gallery pvcc, charlottesville, va 2008 Pictorial Strategies, andrews gallery, the college of William & mary, Williamsburg, va 2007 Mountains and Rivers, Warm Springs gallery, Warm Springs, va 2005 7 Views, riverview’s artspace, lynchburg, va 2005 Faces of the Fallen, arlington national cemetery, Washington, Dc 2005 32nd Annual Juried Competition, masur museum of art, monroe, la 2005 Within Our Borders—The Virginia Landscape, hermitage foundation, norfolk, va 2004 George Nick Selects, concord art association, concord, ma 2004, ’01 Sense of Place, art museum of Western virginia, roanoke, va 2003

32 33

Studio Light Suite, 1993oil on panel12 panels, each panel 12 x 12 inchescourtesy of the taubman museum of art; given in loving memory of Betty Bomberger from the Docent guild of the art museum of Western virginia, 1993.012.001-.012

Christmas I - IV, 1997oil on panel4 panels, each panel 12 x 12 inchescourtesy of Wilbur and lucy hazlegrove

Spring Time, 2002oil on linen32 x 24 inchescourtesy of the honorable ray W. grubbs and Betsy grubbs

James River - Afternoon, 2003oil on linen44 x 50 inchescourtesy of richard Woolwine andatlantic credit and finance, inc.

James River - Morning, 2003oil on linen44 x 50 inchescourtesy of richard Woolwine andatlantic credit and finance, inc.

Pond View - Summer, 2007oil on canvas44 x 46 inchescourtesy of the artist

October Morning, 2007oil on linen36 x 48 inchescourtesy of the artist

Winter Snow, 2008oil on linen36 x 48 inchescourtesy of the artist

Spring Apple Blossoms, 2008oil on linen38 x 46 inchescourtesy of the artist

Raking Light, 2008oil on canvas18 x 24 inchescourtesy of the artist

Waterfall, 2009oil on linen60 x 40 inchescourtesy of the artist

Princess I, 2009oil on linen60 x 40 inchescourtesy of the artist

Princess II, 2009oil on canvas36 x 48 inchescourtesy of the artist

Gray Afternoon Notre Dame, 2010oil on panel8 x 6 inchescourtesy of the artist

Pont D’Arcol, 2010pen and walnut ink wash on paper6 x 9 inchescourtesy of the artist

Pont Marie, 2010pen and walnut ink wash on paper6 x 9 inchescourtesy of the artist

Pont Neuf, 2010pen and walnut ink wash on paper6 x 9 inchescourtesy of the artist

Pont Tournelle, 2010pen and walnut ink wash on paper6 x 9 inchescourtesy of the artist

St Paul’s Rooftops, 2010pen and walnut ink wash on paper6 x 18 inchescourtesy of the artist

St Paul’s Rooftops from the Cité, 2010oil on linen28 x 36 inchescourtesy of the artist

Notre Dame Rooftops, 2010pen and walnut ink wash on paper6 x 18 inchescourtesy of the artist

Hotel de Ville, 2010oil on panel6 x 8 inchescourtesy of the artist

Hotel Dieu, 2010oil on panel6 x 8 inchescourtesy of the artist

Place du Vosges - Rooftops I, 2010oil on panel6 x 8 inchescourtesy of the artist

Place du Vosges - Rooftops II, 2010oil on panel6 x 8 inchescourtesy of the artist

Paris Rooftops from the Cité, 2010oil on linen28 x 96 inchescourtesy of the artist

Paris Rooftops from the Cité II, 2010oil on paper11 x 30 inchescourtesy of the artist

Morning Snow, 2010oil on linen28 x 22 inchescourtesy of the artist

Studio, 2010oil on canvas36 x 36 inchescourtesy of the artist

Oranges I, 2010oil on canvas30 x 30 inchescourtesy of the artist

Yellow Table III, 2010oil on canvas12 x 12 inchescourtesy of the artist

Yellow Table IV, 2010oil on canvas12 x 12 inchescourtesy of the artist

Green Table, 2011oil on linen48 x 48 inchescourtesy of the artist

Yellow Reflection, 2011oil on linen48 x 48 inchescourtesy of the artist

Red Vase I, 2011oil on linen28 x 22 inchescourtesy of the artist

Red Vase II, 2011oil on canvas12 x 12 inchescourtesy of the artist

Downtown Rooftops I, 2011oil on canvas36 x 66 inchescourtesy of the artist

Downtown Rooftops II, 2011oil on canvas24 x 48 inchescourtesy of the artist

Looking South, 2011oil on canvas12 x 12 inchescourtesy of the artist

The Tower, 2011oil on canvas12 x 12 inchescourtesy of the artist

Taubman View #1: Hotel Roanoke, 2011oil on canvas24 x 48 inchescourtesy of the artist

Taubman View #2: Civic Center, 2011oil on canvas24 x 48 inchescourtesy of the artist

Taubman View #3: N&W Shops, 2011oil on canvas24 x 48 inchescourtesy of the artist

Taubman View #4: H&C Coffee, 2011oil on canvas24 x 48 inchescourtesy of the artist

E X H I B I T I O N

C H E C k L I S T

34 35

Place du Vosges - Rooftops I, 2010oil on panel6 x 8 inches

Place du Vosges - Rooftops II, 2010oil on panel6 x 8 inches

Downtown Rooftops II, 2011oil on canvas24 x 48 inches

36 37

Princess I, 2009oil on linen60 x 40 inches

Waterfall, 2009oil on linen60 x 40 inches

38 39

Studio, 2010oil on canvas36 x 36 inches

Oranges I, 2010oil on canvas30 x 30 inches

40

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; ed 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 wife linda for her ongoing

support of my life-long adventure as a painter; and to my colleagues at hollins university.

A C k N O w L E D G E m E N T S

Bill White’s (to scale) maquette of his exhibition2010

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