From the water, at the best time of day to be on the river in the summer.
One of my versions of the view from Olana, impossible to resist. (Private collection.)
One of those bright/hazy days, softening all edges, Kingston Lighthouse on the left. The divided format creates rhythm and brings the eye back to the surface of the painting.
Like most of these, a view from the water. Sunset over the Catskills, as minimalist as can be. (Private collection.)
A spot further downstream, where the shores create dramatic bluffs. (Private collection.)
Very often I plan on including the lighthouse—they appear in so many views—but then opt not to. Here, it fits well as a sign of human imprint, along with the sailboats. This is Esopus Light, situated way out in the middle of the river, warning boats from the shallows to its west.
A view of the Newburg/Beacon bridge from the train on the east bank, with a crazy sunset gleam reflected from the girders onto the water below.
In this piece the serenity of the scene and the balance of the composition led me to omit the lighthouse on the left. The Catskill MOuntains are behind the river’s edge.
I love the river marshes just as I love saltmarshes, the grasses outlining shapes against the expanses of water.
Deep dusk, playing with a camera-blur effect in the shore lights.
Though flanked by shores on either side, the river is wide and the sky big. (Private collection.)
Moonlit river looking west from Poet’s Walk in Rhinebeck.
A snippet of river in the vertical format, revealing the gleams of the setting sun without showing the sun itself. (Private collection.)
The Hudson from the West Side Highway, nearing where it feeds into New York Harbor. (Private collection.)