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![]() April Landscape Missouri1984 40 x 60 | ![]() Blue Evening1985 42 x 60 | ![]() Beech Forest Virginia1981 40 x 54 |
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![]() Bridge on the Saco1975 30 x 40 | ![]() Brook Trout1985 30 x 40 | ![]() East of Lancaster1982 30 x 44 |
![]() Fields Above the Missouri1983 40 x 60 | ![]() In the Mountains1983 36 x 50 | ![]() Late Summer South Conway1982 40 x 60 |
![]() New Hampshire Afternoon1988 30 x 40 | ![]() New Hampshire Farm1982 28 x 40 | ![]() October Conway Lake1985 28 x 42 |
![]() October Danville Woods1981 24 x 36 | ![]() Plum Island1980 34 x 48 | ![]() Rider in the Morning1983 36 x 48 |
![]() The Green Boat1983 24 x 30 | ![]() The Mississippi Spring Evening1980 44 x 60 | ![]() The Saco in Maine1983 30 x 44 |
![]() Toward the River1976 15 x 18 | ![]() Over in Maine1983 40 x 56 | ![]() West Shore, Walker's Pondc. 1980 30 x 44 |
![]() New Hampshire Gladec. 1978 - 84 11 x 14 | ![]() In Shadowc. 1980 13 x 20 | ![]() Untitled (New Mexico)c. 1980 18 x 2 available for purchase |
![]() Late Summer, Conway Lakec. 1987 42 x 60 | ![]() North of Santa Fec. 1980 28 x 44 | ![]() December Moonc. 1980 23.75 x 31 available for purchase |
![]() Mid Summer Moonc. 1980 18 x 23 | ![]() Grassy Forest1986 4.75 x 20.5 available for purchase | ![]() November, Pinkham Notchc. 1980 12.5 x 20 available for purchase |
![]() The Trespasserc. 1990 28 x 40 | ![]() The Saco River at North Conway1984 30.25 x 42 | ![]() September Storm1983 36 x 54 |
![]() New Hampshire Evening1968 28 x 36 | ![]() The Beech Forestc. 1980 36 x 44 | ![]() The Hill Wife1969 38 x 45 |
![]() The Upper Fieldc. 1980 30 x 36 | ![]() In The Valleyc. 1970 39 x 50 | ![]() Spanish Graveyard, Galisteoc. 1980 2 x 46 available for purchase |
![]() Late Summer, Conway Lakec. 1987 42 x 60 | ![]() Summer Nightc. 1980 28 x 42 | ![]() Autumn Clouds, Virginiac. 1980 5 x 21 available for purchase |
Landscapes
Robert Jordan believed every painting should tell a story about the quality of a place.
He was intrigued with the light and shadow of every season.
He observed the light in September around sunset, the look of a field in the moonlight, the cool dark shadows under the branches along a New England river, and the deep, cold mountain views in
winter, all with the same painstaking even-handedness. He was a chronicler of the private and contemplative as expressed in landscape or a response to a place.
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