À PROPOS
Représentation
Galerie Arden , Houston, Texas
Galerie Breckenridge , Breckenridge, Colorado
Dominique Boisjoli Fine Art, Santa Fe, Nouveau-Mexique
Madelyn Jordan Fine Art , Scarsdale, État de New York
Galerie Page + Waterman , Wellesley, Massachusetts
Galerie Renjeau , Natick, Massachusetts
Galeries Saks , Denver
Getty Images
Collections
partial listing
Coopers and Lybrand
Hewlett Packard
Kaiser-Permanente
Ritz Hotel, Denver
Four Seasons Hotel, Denver
St. Anthony's Hospital, Denver
Panhandle Eastern
National Dairy Board
Grubb and Ellis, Denver
Marriott Hotels
Holland America Cruise Line
Stanford Cancer Center, Palo Alto
Tufts New England Medical Center
Pinnacol
Denver Hospice, CO
Mayo Clinic, Rochester, Minnesota
Massachusetts General Hospital, Boston
Gaylord Rockies Resort & Conference
Center Aurora, CO
Vail Mountain Club, Vail, CO
Yampa Valley Medical Ctr, Steamboat Springs, CO
The Baldwin, Londonderry, NH
Newton Wellseley Hospital, Boston
Vectra Bank, CO
Blue Shield
Hitachi
The David and Lucile Packard Foundation
Glenmoor Country Club, Denver
Project Energy
St. John’s Mercy Medical Center,
Creve Coeur, MO
Rose Medical Center, Parker, CO
Spectrum Health Butterworth
Hospital, Grand Rapids, MI
Magnet Bank, Atlanta
Ford, Harrison Law, Atlanta
Lowry Medical Center, Denver
Town and Country Hospital, Houston
Jones and Keller, Denver
Raychem
Birch Hill Investment Advisors, Boston
Avista Hospital, CO
Interviews et articles
Collectionneur d'art américain, Le paysage en évolution : focus sur les paysages , septembre 2025
Introduction de Sarah Gianelli
Rencontrez Ken Elliott / Interview de Bold Journey.
Questions et réponses, septembre 2024
Magazine Fine Art Connoisseur : « Frissons : le point de vue d’un artiste sur la peinture de paysages » , avril 2020
Denver Life Magazine, mars 2019
Artistes et art, mai-juin 2017
Aperçu de l'exposition du magazine Southwest Art, Total Arts Gallery, Taos, Nouveau-Mexique, mai 2015
Par Gussie Fauntleroy
« Je voulais vous faire part de ce très bel article paru dans le numéro de mai 2012. Merci à SW Art Magazine et à son auteure, Gussie Fauntleroy, d'avoir si bien compris le sujet. »
Questions-réponses : Entretien avec Ken Elliott pour Black Tie Colorado, janvier 2008
Vidéos :
Page vidéo
Ken Elliott Artist’s Statement
“From an early age, I’ve been fortunate to have seen remarkably good works of art and met some of the best painters in the field.
My friendships with Wolf Kahn and Forrest Moses along with Wolf’s master classes have been invaluable.
The paintings I create are rarely portraits of places but rather, they are investigations into color and composition. My goal is to create something more remarkable and outside the familiar scene. To do that, many ideas and moves are used to alter nature in exaggerated, but somehow believable ways.
If successful, what emerges is art that is expressive, apart from the everyday and filled with life and joyfully, II never tire of chasing that goal.
Gussie Fauntleroy in a review for Southwest Art Magazine:
There is paradox in Ken Elliott’s landscapes: They pulse with powerful color, and yet collectors speak of his paintings as exuding a sense of calm. They contain choreographed rhythm and order, even within the seeming disorder of winter trees along a creek. “I’m trying to give the paintings muscle, poetry, power, and gentleness. I’m screaming—but in a civilized way,” the artist jokes.
Ken’s involvement in the art business has now spanned over 40 years. He began as a picture framer in Houston, then worked alongside an art restorer, became an art dealer, and about 30 years ago, began to draw and paint. He has worked in a variety of media over the years and is now working primarily in oil and pastel. His artworks are in thousands of collections including large commissioned works in prestigious private and public collections.
He is a colorist foremost, and is attracted to the landscape with its rich store of ideas and inspiration.
Ken writes:
“I am compelled to work from the trees, skies, lakes and streams in their endless variations. I don’t try to recreate nature (even Monet said he never got it right) or attempt storytelling. Instead, the works are simplifications and exaggerations of nature. There was a time when I felt the tyranny of the landscape. That is, I felt limited by making pictures of a place. Now, instead of attempting representations of a scene, I am free to make paintings that are far more reliant on the strategies of making fine art.
Fortunately, I’ve learned that what some would call mistakes are part of the creative process. So, I try to begin boldly, not worrying about missteps and exaggerating nature. During the process, I allow my vision and the inevitable ‘flaws’ to become a part of the emerging image. Some will be eliminated and the more delicious ones are incorporated into the painting as unintended surprises.
Painting is not a linear, start to finish process for me. I typically have a number of paintings and pastels in progress in the studio. I welcome interruptions and they become part of the process. If the phone rings, I’ll turn my back to the easel to look at other paintings or gaze out the window. Sometimes the very solution I’m seeking is found that way. All the paintings and different views feed each other, offering solutions and more problems. Those paintings that make it out the door have come to a good but sometimes torturous conclusion.
In my works, all of nature is altered, perfected and abstracted. When I run out of variations to an idea, I’ll go back to nature where all the inspirations and colors for a lifetime are always waiting.”