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There is perhaps no artist whose work provides a more crystalline 20th-century expression of the bucolic and highly romanticized Vermont landscape than that of Luigi Lucioni. He understood better than most that the inspiration he drew from the pristine natural beauty of the Green Mountain State paralleled the harmonic balance of humanity and nature that many Americans sought in their own lives. As a result, his verdant panoramic landscapes populated by church spires and rusticated farm buildings appeal—as much today as they did when he first painted them—to our nostalgic wish for a seemingly more simple existence.

...in the mid-1930s Lucioni took a serious interest in the medium of watercolor... The results were astonishingly seductive, and over the next 2 decades he produced virtuoso, large-scale... (http://museum.middlebury.edu/exhibitions/past/2008-2009/node/580)


Luigi Lucioni (born Giuseppe Luigi Carlo Benevenuto Lucioni Nov. 4, 1900-July 22, 1988); Italian American painter known for his still lifes, landscapes, and portraits....

Lucioni cites Dodge as an influence in his own realization that one's belief in oneself is the key to fully realize one's own artistic vision, and not the adoption of contemporary trends in art or catering to others' expectations, a theme that Lucioni would express in his career.
(https://en.wikipedia.org/wiki/Luigi_Lucioni)


Noted painter and engraver. Born in northern Italy, he immigrated to the USA in 1911 and settled in N. Bergen, NJ. Studied at Cooper Union and the National Academy of Design in New York and exhibited widely.... Maintained a studio in Washington Square in NYC until 1945. Best known for his realistic detailed still life paintings and many landscape etchings. In the late 1920s, he began making visits to Vermont, eventually taking up a summer residence in Manchester Depot, Vermont, where he loved to paint red barns and white birch trees.
(http://www.antiquescollaborative.com/items/957879/item957879store.html)
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Suzan Hamer

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