| Stephen Lyman |
 There
are times when you just want to be transported to some tranquil spot in the American
wilderness -- let Lyman's newest be the catalyst for the journey of the imagination. Last
Touch of Light allows you a grand view of one of our most glorious national parks,
Yosemite. Here the Half Dome shimmers in the fading light, above the dark silent woods. This Lyman fine art canvas was chosen from some of his recently discovered "pure" landscapes. Stephen painted these in between his better-known firelight and wildlife works, but he never submitted them for print. They were found in his archives with help from Andrea Lyman, and then specially selected to be fine art canvases. A number of years ago Stephen expressed a desire to have some of his works reproduced through what were then "alternative" printing techniques -- now his wish has come true. |
Lyman Prints |
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Soar on the wings of serenity. Eagle and wilderness are one in this awe-inspiring vista. |
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Ahwahnee was apparently the native Miwok people's name for
Yosemite Valley. Initially, white men understood it to mean "deep grassy
valley." Recently, some researchers believe Ahwahnee actually means "wide gaping
mouth." The valley, however, is still deep and grassy with verdant bunches of bear
grass. |
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In Cathedral Snow I wanted to capture a beautiful, ethereal autumn scene in Yosemite Valley. The first snow of the season is lying lightly on the dying meadow grass and will melt as soon as the sun comes up. The name of the image not only refers to the areas of Yosemite called Cathedral Rocks and Cathedral Spires, but evokes a spiritual and sacred mood. The clouds and the light glowing from above heighten the sacred feeling. |
The deer depicted
are a common sight in the valley. They help show the size and scale of the rocks and
cliffs in the distance. The cliffs are about 2,000 feet high, and the spires, which
actually begin somewhere up on the mountainside, are a few hundred feet high. Like many of
my images, this painting was inspired by a particular experience, yet it is also a symbol
and the culmination of many of my experiences in Yosemite. |
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A while back, fellow Greenwich Workshop artist Brent Townsend
and I took a trip to Algonquin Provincial Park in Canada. I remember the rolling hills and
lakes of the north, places that could be reached only by canoe, and I wanted to take you
there. To really get across the extent of the wilderness, I've pictured a confrontation of wildlife that is, in a way, similar to the one in New Kid on the Rock. |
This time, I've painted a lone black wolf as he takes advantage of this fascinating and intricate beaver dam 'bridge,' while the light of a golden sunset glows in the sky. In order to make this scene truly different, I didn't even picture the other animal in the equation. Instead, I created unique ripples in the water, so you and the wolf know that the builders are nearby, but you can't reach, or see, them. |
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This is another campfire painting, set at a lake right after sunset. The fire is actually on a bench above the water, not right next to it. Again, it's set at a different time of day than all my other campfire prints. You still have some color in the sky, but it's dark enough that the first star of evening has come out and is reflected in the water. A slight wind that ripples the water also makes the flames flicker. On the far side of the lake, you'll see more ripples in the water than you will on the near side. |
| The reason I wanted this image to accompany the
book is that it's small; all my other campfire images have been rather large. This one is
a nice change in format, and it made sense to me that it accompany something that is as
intimate a viewing experience as a book. |
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There are times when you just want to be transported to some
tranquil spot in the American wilderness -- let Lyman's newest be the catalyst for the
journey of the imagination. Last Touch of Light allows you a grand view of one of our most
glorious national parks, Yosemite. Here the Half Dome shimmers in the fading light, above
the dark silent woods. This Lyman fine art canvas was chosen from some of his recently discovered "pure" landscapes. |
| Stephen painted these in between his better-known
firelight and wildlife works, but he never submitted them for print. They were found in
his archives with help from Andrea Lyman, and then specially selected to be fine art
canvases. A number of years ago Stephen expressed a desire to have some of his works
reproduced through what were then "alternative" printing techniques -- now his
wish has come true.
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