Blog Post

Tactile Realism from Lynn Boggess

Anna Hall and Kate Downes • 21 October 2020

"En Plein Air" landscapes with a difference

When viewers comment about the work of Lynn Boggess, they often refer to senses other than sight. They say “I can smell the mud” or “I can feel the mist”. ( Jennifer Hall Boggess )

Looking at Lynn’s landscapes transports us to the woods and rivers where he created them. Although the realism is combined with an abstract appreciation of colour and texture, the overall impression is one of looking over the artist’s shoulder as he paints…

Painting landscapes en plein air has been hugely popular since the impressionists, when artists began developing more freedom in their practise, allowing them to capture the essence of a place and time, instead of just an image.



Painting en plein air with a trowel, however, is quite an unusual technique. This is just one of the things that sets Lynn apart, giving his paintings such a unique quality…

How would an artist get started with such a unusual choice of tool to paint on a canvas? In 2001, Lynn took a break from his indoor studio, to paint some nature studies out of doors, and grabbed a nearby trowel on a whim. He soon discovered that the fast and energetic application of colour and texture, using the trowel, allowed for the ‘immediate’ quality in his works that is now his signature style.


He works the surface as if he is digging, trying to form something out of the earth itself... ( Jennifer Hall Boggess )

Lynn’s landscapes are truly incredible to see in person, particularly the three-dimensional quality of the textured surface. The first two artworks we’ve brought into Watson ‘A Bright February’ (which has already sold) and “January Skies’, have been grabbing plenty of attention from our visitors – and several passersby!

For a fascinating look into Lynn’s painting practice, take a look at the video below...

Tactile Realism En Plein Air , Lynn’s book, features a selection of his landscape paintings organised by season. The title connects the different elements of his work: ‘Tactile’ for the connection to touch, ‘Realism’ for its true to life representation, and ‘En Plein Air’ for Lynn's outdoor methods and links to impressionism.

Along with images of works, the book includes some photos of his en plein air practice, along with some quotes and some background on Lynn.

We have been delighted to bring Lynn’s work, and books, into Watson. If you are interested in taking a closer look at his artworks, please get in contactto arrange an in-person or virtual viewing. (Zoom viewings are now available as well!)

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