Impressed by the delicacy and frailty of the Tudor miniatures at The Metropolitan Museum of Art, Crandall began making very small encaustic landscapes on stacked wood. Although based on her own photos or sketches, the images of nature in these works bear a deliberate affinity to the mid-19th century landscapes of George Inness, Frederic Church, Martin Johnson Heade, and others. The miniature size of Crandall's landscapes, combined with their references to historical heroic landscapes, underscore "the reality that we have little pristine land left." The truncated shape and depth of the pieces relate to keepsake boxes that can be held in the hand -- reinforcing the nostalgia of these works, our fragmentary experience of landscape in the late 20th century, and the irony of "something....which appears potentially infinite to our eyes, being in a space that is only a few inches." Striving to create unique atmospheric qualities in her landscapes of the imagination, Crandall employs encaustic which provides both an actual physical depth as well as its illusion. Furthermore, she enjoys the serendipitous nature of`the fusing process which guides the evolution of her work. excerpt from: Waxing Poetic: Encaustic Art in America during the Twentieth Century by Gail Stavitsky, Ph.D., Chief Curator
Landscape 157: Adirondacks, encaustic and gold leaf on wood, 2.75x2.75x2.5
Landscape 190: Adirondacks, encaustic and gold leaf on wood, 8x5x2.25
Landscape 191: Adirondacks, encaustic and gold leaf on wood, 3x11x2.25
Landscape 172: Wannabrook Farm, encaustic and gold leaf on wood, 1.5x1.5x2.25
Landscape 173: Wannabrook Farm, encaustic and gold leaf on wood, 1.75x1.75x2.25
Landscape 174: Wannabrook Farm, encaustic and gold leaf on wood, 2x2x2.25
Landscape 150: Wave Hill, encaustic and gold leaf on wood, 5.25x5.25x2.25
Landscape 164: Winter Nights, oil on panel, 2.5x2.5x2.5
Landscape 181: Seaside, encaustic and gold leaf on wood, 2x2x2.25
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