Vermont Cornfield 1969

This dreamy landscape, Vermont Cornfield, was made by Wolf Kahn using pastels. Just imagine him standing in that field, maybe a bit windswept, squinting at the light. There's something so tender about the way he layers the pastels, building up the sky with these soft, chalky hues. It's not about capturing every little detail, but more about the overall feeling of being in that place. The strokes are quick, intuitive—the way the blue defines the treeline with blocks of saturated colour, then bleeding into the green, and brown, and yellow fields. Think about what it means to try and pin down a landscape. Is it even possible? Kahn seems to be suggesting that painting isn't about perfect representation, but about finding a way to express something ineffable. Like a conversation between the eye, the hand, and the heart. And isn’t that what painting is all about?