James Harrington

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Except for a brief period of study at the Art Student's League in New York, James Harrington is self taught. Initially influenced by "Ash Can School" artist Robert Henri's writings, he has gone on to develop his own theories of color and composition. It is his use of color that first attracts us to his work: the combination always seems fresh and unusual, and his paintings suffused with light. His placement of figures and objects in his paintings is based on a careful balance of color and an asymmetrical compositional rhythm which he describes as "leading the eye with meter."

An elected member of the American Society of Marine Artists, much of Harrington's recent reputation has been founded on his work with marine subjects. The scope of his subject matter, however, is very broad: he is interested in humanity in general rather than at specific locals. His paintings constantly strike us with his ability to capture the physical attitudes we take in motion or at rest, in work or at play. The work seems to suggest events that began before and continue after the particular moment in time depicted: we are invited to invent stories about what is taking place. These paintings draw upon our own creativity and involve us personally as we view them. Viewed in the aggregate, as at an exhibition, Harrington's work continually surprises us with the variety and range of imagination displayed.

Mr. Harrington's work has been featured in a number of publications, including American Artist magazine (July, 1987, pp. 42-47), the Nantucket Journal (late summer/autumn, 1991, pp. 26-31), and Susan Rayfield's recent book, Marine Paintings: Techniques of Modern Masters (1991, pp 104-109, 138).