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hour increments, after which time the light would change too much to continue. Welliver insisted that he was uninterested in trying to copy the exact colors of objects, desiring instead to find "a color that makes it look like it is, again, surrounded by air." He often painted out of doors in winter, and enjoyed the crystal quality of the air and luminosity created by light reflecting off snow, but acknowledged that the process was not easy:
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Welliver later expanded some of the outdoor studies into large paintings in the studio, painting 4 to 7 hours a day, meticulously starting the canvases in the upper left-hand corner and finishing in the lower right. If the finished paintings were vibrantly painted, containing "an emotional intensity
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sketches. His equipment-laden backpack weighed 70 pounds, and included eight colors of oil paint: white, ivory black, cadmium red scarlet, manganese blue, ultramarine blue, lemon yellow, cadmium yellow, and talens green light. These plein-air studies usually took about 9 hours, and were painted in 3
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Welliver's personal life was marked by tragedy. In 1975, he lost his home, studio, and all the art therein to a fire. In 1976, a daughter died, followed soon thereafter by the death of his second wife. In 1991, his son Eli was killed, and a second son, Silas, died. Of his surviving children, one is
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Painting outside in winter is not a macho thing to do. It's more difficult than that. To paint outside in the winter is painful. It hurts your hands, it hurts your feet, it hurts your ears. Painting is difficult. The paint is rigid, it's stiff, it doesn't move easily. But sometimes there are things
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His mature works, often as large as 8 by 10 feet (2.4 by 3.0 m), are at once richly painted abstractions and clear representational images of intimate Maine landscapes, taking as their subjects rocky hills, beaver houses, tree stumps, and rushing water, occasionally opening out to blue
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alumni magazine, published an op-ed from a Penn graduate that described several encounters with Neil
Welliver, accusing him of leveraging his position as chair of the university's Department of Fine Arts to sexually harass students.
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and unwanted sexual advances during the student's matriculation at Penn, and noted that
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from 1953 to 1957 and at Yale from 1956 to 1966. In 1966, he began teaching at, and eventually became chairman of the
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that goes beyond the ordinary limits of realism", they also tended to be emotionally somber.
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cloud-laden skies. Carrying his equipment on his back, Welliver hiked into the woods to make
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often focusing on his sons canoeing or female nudes bathing. In 1970 he moved permanently to
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Welliver, Neil; Doty, Robert M.; Myers, John
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364:"Letters to the Editor: School of Design Dean Frederick Steiner responds"
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54:(now part of the University of the Arts) and then received an MFA from
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311:"Neil Welliver Biography (1929-2005) - Life of an American Artist"
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Welliver's works are represented in many museums, among them the
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painting to the realistic transcription of small-town scenes in
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While teaching at Yale, Welliver's style evolved from abstract
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Graduate School of Fine Art, from which he retired in 1989.
22:(July 22, 1929 – April 5, 2005) was an American modern
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343:. University of Pennsylvania. January 3, 2018
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337:"Letters to the Editor: A Story from 1971"
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370:. University of Pennsylvania
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223:0362-4331
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