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Thomas Kegler
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Gustav Aboltin
Jan Agati Abbarno
Paul Ambille
East Aurora Art Walk
The Living American Art, Inc., 55 5th Ave., New York
Cornelius A. Bartels
Jean Benner
Julius Bien
Thomas Blinks
M. Henry Bonnefoi
Anatol Bouchet
John Brach & Sean Witucki
McLoughlin Brothers, NY
Catherine Brown
Frances Brundage
Samuel John Carter
Detroit Publishing Co. (AKA Detroit Photographic Co.)
Holmes Company, Inc., Chicago, IL [for Guy B. Holmes]
Jean-Baptiste-Camille Corot
Luigi Corti
Alice Cranston Fenner (of Artyle Studios)
E. Conyne Daly
Leon Emile Fernand Danchin
Tano de Simone
Walt Disney Company
Grace G. Drayton
F. Dürrnberger
Josef Eidenberger
E. Hedley Fitton
Myles 'Birket' Foster
Rachelle Francis
Giuseppe Gambino
Marie-Francois Firmen Girard
Elaine Grisanti
Charles Wesley Haist
William Harring Von Ammon (AKA William Harring)
Karl Herzog
Mindy Hesslink
Curtis & Cameron, Inc., Boston, MA & NYC
Colegrove Bros., Inc., Publishing-Buffalo, NY
Reproducta, Inc.-Publishers
Willy Jäger (AKA Willy Jager)
Dennis Barraclough & James Vullo (1914-1999)
Lawrence Josset
Sarita Kennedy Arden
Joseph Keppler, Jr. (AKA Uto J. Keppler)
Michael Killelea
Alonzo Kimball
Willy Köchler
Karoline Korössy (Korossy)
L. Kreitz
Western New York Land Conservancy
Maria Laurendi
Sir Thomas Lawrence, PRA, FRS
Le Roy
Sir Frederick Leighton, PRA
Bernard Lignon
Ivan Lindhé
Niagara Lithograph Co.
Gray Lithographic Co., NY
Antonio Lonza
Mario Mariani
V. Mariani
G. Mariani
Louis Mettling
Mill Road Scenic Overlook
Roderic Montagu O'Connor
Geoff Mowery
G. Nasi
Byron Glee Newton
Cindi O'Mara
Emanuel Oberhauser (or Emmanuel Oberhauser)
Susan Z. Ott
Hickok & Pate, NY
Henry Greenwood Peabody
Ruth Carolyn Percival
Laura Perillo
Columbia Pictures Corporation
Peter Potter
Taber Prang Art Co.
Sherrill Primo
GG Co. Publishing
Hatcher Publishing Co. (AKA Hatcher-Fagin Pub. Co.)
Aldo Rando
H.W. Ranger
Joanna Ransom
National Remembrance Shop, Washington, DC
Review of Reviews Company, NY
Inge Riches
John A. Ruthven
F. Schenkel
Kath Schifano
Pieter Hendrik Schor
Tavik Frantisek Simon
Buffalo Society of Artists
Norine Spurling
Frederick A. Stokes Company
Artyle Studios (also Cranston-Fenner Studio)
Thomas Sully
Ivor I.J. Symes (AKA Ivor Isaac John Symes)
M.F. Tobin Litho, NY, U.S.A
Raphael Tuck & Son's Publishing
G.J. Unknown
George Frederic Watts
Kathy Weber
Joseph Quinn Whipple, Sr.
James A. McNeill Whistler
Alfred Wierusz-Kowalski
Judy Winklhofer
Milo Winter
John Witcombe
WNY Members of the National Collage Society
Thomas Waterman Wood
Lee Woodward Zeigler
Owen Cullen Yates
Charles Houseman
Charles Houseman (American, 1950-) was born in Niagara Falls, NY, in 1950 and graduated from North Tonawanda High School in 1968. He received his B.S. in Art Education from Buffalo State in 1973, and his Master’s Degree in 1978. He currently lives in Hamburg, teaching classes in design, ceramics, photography and architecture at Springville Griffith Institute.

Houseman has used long-held interests in music and American history to give a direction to his work. Although his work now echoes the nineteenth century American landscape paintings traditionally viewed as the Hudson River School and later Luminists, his influences draw from the work of Rauschenberg, Johns, John Cage and Merce Cunningham. While at college he studied with Joseph Piccillo. Through the years, his work has sublimated these influences, blending them into layers of sensibilities. With his wife Peg (a spinner and weaver), he travels to historic sites and villages, incorporating scenes visited by artists over the years, into his paintings.

A perpetual student, Houseman continues to work on technique, modifying his brushwork, working with lighting and atmosphere, and composition. He continues to set challenges, both stylistically and philosophically. As an instructor, he strives to recognize students who do the same, challenging students to learn new skills and increase confidence.

Artist’s Statement

"The challenge of an early instructor, to “paint what you know”, continues as a unifying theme in my work. After all the given assignments, the exercises and projects, I find myself returning to the objects and environs that fascinated me, and fed my imagination, as a child. I could easily spend hours then, at the base of a tree, or with a handful of gathered sticks, constructing some miniature world. It strikes me now, as an adult, I do the same in my studio: As I paint, I can imagine the feel of the dirt, and the sticks in my hand. I can easily lose track of time while painting.

In earlier drawings, I would work with objects found in nature, in ethereal or unexpected surroundings. Realism was key, but I was trying to find an original “twist”. The more I looked for the original idea, the further I wandered from my original interest in the object. There is more than enough for me in trying to capture the essence of being at the scene; being in it; to make myself invisible, yet there to again feel the sun, to touch the rocks and smell the air.

As our life becomes more and more tethered to technology, I strain against the loss of these sensual moments. Art educators such as Thomas Dewey for generations have stressed the natural environment as stimulus for creativity. I now find myself having to remind students of the world they pass each day: usually seen through the veil of a glass window, or through the haze of white noise in their ears. It seems unnatural to have to show students the natural world that surrounds them, as they eagerly tread deeper into a world far removed from direct feeling.

My work obviously reflects the heady influence of 19th century painters: how can we deny the massive body of work of painters such as Church and Bierstadt? I am increasingly drawn to the quieter work of the Luminists and Transcendentalists. Symbolism is here, too, as much as the viewer cares to read into a work. Mainly, I only want to convey the sense of wonder I experience, in a spiritual sense, at that moment of simply being."

-Charles Houseman

To view additional works or to contact the artist directly, please visit Charlie's new website