Untitled Self Portrait
PRB.546
Oil on board, 29" x 23"
NFS
Cove Near Stonington, Maine (1982)
PRB.038
Oil on canvas, 24" x 30"
Preble Cove, Cranberry Island (1983)
PRB.039
Oil on canvas, 24" x 32"
Moose River Below Lyonsdale (1982)
PRB.040
Oil on canvas, 22" x 32"
Bunker Head, Cranberry Island, Maine (1974)
PRB.042
Oil on canvas, 19" x 27"
Ohio Gorge, Herkimer County (1983)
PRB.043
Oil on canvas, 26" x 30"
Spruce Trees on Cranberry Island, Maine (1974)
PRB.044
Oil on canvas, 30 1/2" x 36"
Barge Canal at Little Falls, No. 2 (1963)
PRB.046
Oil on canvas, 29 1/2" x 35"
Mount Desert from Cranberry Island (1971)
PRB.054
Oil on canvas, 20" x 24"
Mount Pleasant Ridge (1958)
PRB.059
Oil on canvas, 29 1/2" x 35 1/2"
Moose River Pool at Lyonsdale (1972)
PRB.060
Oil on canvas, 18 1/2" x 23"
Waterfall #2 (1971)
PRB.063
Oil on board, 19" x 22 1/2"
North Hogan Valley, Aurora, Indiana (1983)
PRB.065
Oil on canvas, 24" x 28"
Landscape Near Blue Hill, Maine (1978)
PRB.068
Oil on canvas, 30" x 36"
The First Suburban View (1984)
PRB.075
Oil on canvas, 30" x 36"
Green Maple (1966)
PRB.080
Oil on linen, 30" x 40"
Granite Ledges and Spruce Relics (1990)
PRB.090
Oil on linen, 28" x 28"
Mowhawk Wooded Slopes (1986)
PRB.104
Oil on linen, 36" x 50"
Cinema City (1994)
PRB.109
Oil on canvas, 36" x 32"
American House and Garden (1977)
PRB.120
Oil on canvas, 30" x 36"
Still Life No. 1 (1989)
PRB.122
Oil on particle board, 22 1/2" x 19"
Still Life No.3 (1989)
PRB.123
Oil on Particle Board, 22 1/2" x 19"
Maples and Oaks (1991)
PRB.124
Oil on canvas, 30" x 26"
Granite Ledges, Isle au Haut (1992)
PRB.128
Oil on canvas, 30" x 24"
Maple Grove (1992)
PRB.129
Oil on linen, 23 1/2" x 28"
Ravine with Trees and Stump (1995)
PRB.131
Oil on canvas, 32" x 24"
Still Life No.3 (1995)
PRB.133
Oil on canvas, 15" x 18"
Green Tree, Yellow Tree (1995)
PRB.134
Oil on canvas, 20" x 24"
Blue Tree, Green Tree (1996)
PRB.136
Oil on linen, 24" x 20"
Manufactory #2 (1988)
PRB.142
Oil on linen, 30" x 36"
Granite and Spruce, Schoodic Point (1996)
PRB.143
Oil on linen, 22" x 30"
Urban Construction #5 (1995)
PRB.146
Oil on canvas, 33 1/2" x 38"
Late Sun on Oak Tree (1984)
PRB.147
Oil on linen, 29" x 29 1/2"
Woodland Barn (1986)
PRB.149
Oil on canvas, 19 1/2" x 31 1/2"
Bunkerhead, Cranberry Island (1984)
PRB.150
Oil on canvas, 20 1/2" x 24"
Still Life (1999)
PRB.151
Oil on canvas, 16" x 20"
Trees in a Park (1988)
PRB.153
Oil on canvas, 16" x 20"
April Landscape (1986)
PRB.154
Oil on canvas, 19" x 18"
Untitled
PRB.155
Oil on canas, 20" x 24"
Jones Street, NYC (1958)
PRB.156
Oil on canvas, 19 1/2" x 23 1/2"
Stonington Spruce and Granite (1999)
PRB.160
Oil on canvas, 34" x 34"
High Granite of the Moose River (1972)
PRB.161
Oil on canvas, 30" x 36"
Trenton Gorge, West Canada Creek
PRB.163
Oil on canvas, 34" x 42"
Manufactory I (1987)
PRB.165
Oil on canvas, 21" x 27"
Harts Neck, Tenants Harbor, Maine (1974)
PRB.166
Oil on canvas, 32" x 25 1/2"
Urban Construction I (1987)
PRB.168
Oil on canvas, 29" x 29 1/2"
Old Industry #1 (1991)
PRB.169
Oil on canvas, 33" x 33"
Landscape at Norway, NY (1969)
PRB.171
Oil on canvas, 28" x 30"
Tanner Hill, Newport, NY (1977-1983)
PRB.174
Oil on canvas, 20" x 36"
Ohio River Power Point (1957)
PRB.178
Oil on canvas, 30" x 36"
Power Line Crossing (1956)
PRB.180
Oil on canvas, 24" x 36"
Bash Bish Falls (1998)
PRB.181
Oil on canvas, 31" Tondo
Clouded Sun (1988)
PRB.189
Watercolor on paper, 24" x 30"
Two Sycamores (1965)
PRB.191
Oil on canvas, 32" x 24"
Tondo Landscape (1967)
PRB.194
Oil on canvas, 24" Tondo
Spruce Roots, Stonington, Maine (1977)
PRB.208
Oil on canvas, 20" x 24"
The Fourth Suburban View (1988)
PRB.209
Oil on canvas, 16" x 30"
Maple Energy (1989)
PRB.210
Oil on board, 23" x 19"
Isle au Haut (1996-98)
PRB.213
Oil on canvas, 24" x 32"
Late Afternoon (1985)
PRB.214
Oil on canvas, 30" x 36"
Glacial Boulders and Maple Rocks (1998)
PRB.215
Oil on canvas, 26" x 30"
Moss Island, Little Falls, New York (1987)
PRB.216
Oil on canvas, 34" x 24"
Meadow Flowers (1996)
PRB.217
Oil on canvas, 28" x 24"
Urban Construction No.8 (1992)
PRB.219
Oil on canvas, 32" x 36"
Color Study I (1953)
PRB.243
Watercolor on paper, 19" x 25"
Sunset (1951)
PRB.247
Oil on canvas, 22" x 16"
Sun and Clouds #2 (2000)
PRB.327
Oil on canvas, 34" x 38"
Tango (2000)
PRB.329
Oil on canvas, 29" x 39"
Homage to the Hudson River School (2001)
PRB.330
Oil on canvas, 47" x 29"
Urban Construction #7 (1996)
PRB.332
Oil on canvas, 25 1/2" x 30"
Suburban View #8 (2001)
PRB.333
Oil on canvas, 31 1/2" 26"
Stonington Granite and Spruce (2001)
PRB.335
Oil on canvas, 20" x 24"
Spruce Relic and Ledge Hart's Neck, Tenants Harbor Maine (1996-2001)
PRB.338
Oil on canvas, 34" x 21"
Still Life #6 (1995)
PRB.339
Oil on canvas, 34" x 22"
Porch Column #2 (1960)
PRB.342
Oil on canvas, 39" x 21"
I-471 (2000)
PRB.348
Oil on canvas, 34 1/2" x 38 1/2"
Spruce and Granite, Stonington, Maine
PRB.349
Oil on canvas, 23 1/2" x 27 1/2"
Moose River Rocks, Lyonsdale, NY (1972)
PRB.352
Oil on canvas, 25 1/2" x 34"
Suburban View #9 (2002)
PRB.358
Oil on canvas, 40" x 40"
Abstraction Landscape (1967-68)
PRB.361
Oil on landscape, 24" x 24"
Untitled (1953)
PRB.394
Watercolor on paper, 19" x 25"
Untitled (c.1953)
PRB.548
Oil on board, 23" x 26"
“My work has been eclectic because I love the contradictions in the world around me, and the richness of those experiences.”
– Easton Pribble
Wilfred Easton Pribble used architectural lines and bright colors to create precisionist-inspired American landscapes, both rural and urban. A successful painter, with a long teaching career, his work was influenced by European modernists like Paul Cézanne and Henri Matisse.
Pribble was born in Falmouth, Kentucky on July 31,1917 to parents Louise Parker and Thaddeus S. Pribble, and spent most of his childhood in southern Indiana. He studied art at the University of Cincinnati, School of Applied Arts, and after finishing his studies served in the US Army during World War II. After the war Pribble moved to New York City where he began exhibiting works at the Pinacotheca Gallery and the Alan Gallery. He also worked for Henry Heydrenryk, one of the world’s oldest and most prestigious framing companies, founded in 1845 in Amsterdam. Pribble was a consultant and designer of hand-made frames at Heydrenryk for eight years.
A trip to Italy in the early1950s greatly influenced Pribble’s artistic style and caused him to briefly abandon representational work in favor of the abstract. This was short-lived, however after his return to the Midwest landscapes that stirred him in his youth, he resumed his figural style of painting.
In 1954 Pribble received a working fellowship at the Saratoga Springs artist’s community, Yaddo. In his time there he further explored landscapes, which would remain a favorite theme for the rest of his life. His work from this period was strongly influenced by an appreciation of Cézanne’s landscapes. This style may be seen both in his painting Pine Woods, which is part of the Whitney Museum of American Art collection, as well as May, Ripley County, Indiana that hangs at the Hirshhorn Museum and Sculpture Garden. The various landscapes of the places Pribble called home and traveled to were frequently the subjects of his canvases – from Southern Indiana to upstate New York to Maine.
Pribble’s long and successful teaching career began in 1954. He was an Instructor in painting, drawing, and art history at Munson-Williams-Proctor Arts Institute for forty-five years. He was also dedicated to peace activism and social justice.
Pulling from European modernists and Post-Impressionists in his work, Pribble at first creatively struggled with what he was taking from other artists and what was his own. He came to terms with his own style later in life, “I know there are dozens of influences in my present work, but I honestly feel that I finally digested them. I don’t worry about influences any more. Whatever the influences were they have now become so thoroughly a part of me and my lifetime that I can work unselfconsciously.” [1]
As many artists before and since have done Pribble sought to convey on canvas his interpretation of the American landscape. Using a “strong structural armature to organize his paintings” [2] in combination with decades of repeated visits to the same sites he was able to bring to us his particular view of America.
Footnotes:
[1] Easton Pribble: Paintings and Drawings Munson-Williams-Proctor Art Institute
[2] Ibid