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ing bare limbs in perfect tonalities. Hill's "H-3" monotype presents the morning sun behind trees lining a county road. A distant figure is frozen in progress down the lane. This piece typifies the justice Hill does to his subject matter.
One understands, looking at his art, that Hill approaches the treatment of light with great respect. In other of Hill's works, mist, blown leaves, the effects of the sun, and the mood of different times of day are perfectly preserved. Because of the generally lighter shades of Hill's skies, portrayals of dusk and dawn may be the most successful evocations of this show.
Notable also is the monotype, "H-13" which presents the wind, and shadows of roil‘ing clouds. Clouds echo the energetic shapes of the land, and sky and field are married by well matched aerial and earthbound tonalities. In "H2" the sun is reaching full morning intensity, and a more contrasted world is emerging. To see into Tucker Hill's creations is to hear black branches crackling, and to smell musty fallen leaves scattered in patches of light. Hill has taken a medium that is frequently used with fewer nuances, and used it to express far-ranging subtleties.
Kinnier's rhythmic color studies often stratify the subject matter, clearly layering perspective, and more or less emphasizing similar colors to
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