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FREYJA’S CASTLE ORIGINAL PAINTING 1987
MEDIUM
Acrylic on Linen Canvas.
Measurements
72”x 40”
Please direct any enquiries about this painting by using the CONTACT form.
This painting was finished in the time between the doctor sending Roger home saying his daughter would not be born in the next twelve hours, and being called back because it could happen any minute. Roger never knew if the painting was finished, but he guessed it was, because he never went back to it after Freyja was born. The original painting was commissioned
OPEN EDITION PRINT £165.00
Open Edition Prints are not limited in the number made.
They are produced to an exceptional standard and use archival quality inks, that provide deep colour saturation. Somerset velvet paper has a thick soft and luxurious finish that shows off both colour and line to its best advantage.
MEDIUM Paper 155 lb’s (330 gsm) Somerset Velvet
Paper Size 23.4” x 16.5” (A2)
Approximate Image Size 21” x 14” (522mm x 352mm)
MEDIUM
Acrylic on Linen Canvas.
Measurements
72”x 40”
Please direct any enquiries about this painting by using the CONTACT form.
This painting was finished in the time between the doctor sending Roger home saying his daughter would not be born in the next twelve hours, and being called back because it could happen any minute. Roger never knew if the painting was finished, but he guessed it was, because he never went back to it after Freyja was born. The original painting was commissioned
OPEN EDITION PRINT £165.00
Open Edition Prints are not limited in the number made.
They are produced to an exceptional standard and use archival quality inks, that provide deep colour saturation. Somerset velvet paper has a thick soft and luxurious finish that shows off both colour and line to its best advantage.
MEDIUM Paper 155 lb’s (330 gsm) Somerset Velvet
Paper Size 23.4” x 16.5” (A2)
Approximate Image Size 21” x 14” (522mm x 352mm)
ARCHES MORNING ORIGINAL PAINTING 2001
MEDIUM
Acrylic on Linen Canvas.
Measurements 71” x 42”
Please direct any enquiries about this painting by using the CONTACT form.
A photograph of a liquid frozen at 1/10,000 th, of a second as it dropped, became a sketch for something, solid permanent and architectural in scale. This painting is a rendition in glowing Mediterranean colours. The moss-covered tree trunk in the foreground came down in woods conveniently close to Rogers’ studio in the severe storms of 1987.
POSTER Price £27.95
Posters printed in vibrant color on a 190 gsm paper with a satin finish
measuring, 59 x 85cms
MEDIUM
Acrylic on Linen Canvas.
Measurements 71” x 42”
Please direct any enquiries about this painting by using the CONTACT form.
A photograph of a liquid frozen at 1/10,000 th, of a second as it dropped, became a sketch for something, solid permanent and architectural in scale. This painting is a rendition in glowing Mediterranean colours. The moss-covered tree trunk in the foreground came down in woods conveniently close to Rogers’ studio in the severe storms of 1987.
POSTER Price £27.95
Posters printed in vibrant color on a 190 gsm paper with a satin finish
measuring, 59 x 85cms
BLUE DESERT ORIGINAL PAINTING 1989
MEDIUM Acrylic on Linen Canvas
Measurements 108* x 72”
Please direct any enquiries about this painting by using the CONTACT form.
All the natural elements of this painting come from sites Roger has visited in Arizona and Utah. In the background is a painting of Vermilion Cliffs in Arizona. In the foreground are forms from Bryce Canyon called hoodoes. All the rock forms are sedimentary, which explains the horizontal striations that are seen in those rocks.
The tower seen in the distance, that appears like a giant desert plant, is an imaginary future gathering place for festivals and meetings.
OPEN EDITION PRINT £165.00
Open Edition Prints are not limited in the number made. The Open Edition Prints that we produce are made by Harwood King Printmakers (https://wwwharwoodking.com)
They are produced to an exceptional standard and use archival quality inks, that provide deep colour saturation. Somerset velvet paper has a thick soft and luxurious finish that shows off both colour and line to its best advantage.
MEDIUM Paper 155 lb’s (330 gsm) Somerset Velvet
Paper Size 23.4” x 16.5” (A2)
Approximate Image Size 21” x 14” (522mm x 352mm)
MEDIUM Acrylic on Linen Canvas
Measurements 108* x 72”
Please direct any enquiries about this painting by using the CONTACT form.
All the natural elements of this painting come from sites Roger has visited in Arizona and Utah. In the background is a painting of Vermilion Cliffs in Arizona. In the foreground are forms from Bryce Canyon called hoodoes. All the rock forms are sedimentary, which explains the horizontal striations that are seen in those rocks.
The tower seen in the distance, that appears like a giant desert plant, is an imaginary future gathering place for festivals and meetings.
OPEN EDITION PRINT £165.00
Open Edition Prints are not limited in the number made. The Open Edition Prints that we produce are made by Harwood King Printmakers (https://wwwharwoodking.com)
They are produced to an exceptional standard and use archival quality inks, that provide deep colour saturation. Somerset velvet paper has a thick soft and luxurious finish that shows off both colour and line to its best advantage.
MEDIUM Paper 155 lb’s (330 gsm) Somerset Velvet
Paper Size 23.4” x 16.5” (A2)
Approximate Image Size 21” x 14” (522mm x 352mm)
FLOATING ISLANDS ORIGINAL PAINTING 1993
MEDIUM Acrylic on Linen Canvas
Measurements 72” x 48”
Please direct any enquiries about this painting by using the CONTACT form.
For over thirty years Roger has been obsessed by a vision of floating islands. There is something inescapably alluring about the idea of weightlessness, but Roger felt that such a surreal idea had to be expressed in a visually plausible way to create the sense of spaciousness and tranquillity he wanted to convey. The trees depicted are portraits of existing trees and the floating boulders they grow upon are modelled from sketches of rock formations.
These islands first appeared in his work in 1971, in the painting used for the cover of the Fragile album for Yes. Then they were fragments of a world breaking up. The islands recur in the painting for The Flights of Icarus, an illustrated book published by Paper Tiger in 1976
MEDIUM Acrylic on Linen Canvas
Measurements 72” x 48”
Please direct any enquiries about this painting by using the CONTACT form.
For over thirty years Roger has been obsessed by a vision of floating islands. There is something inescapably alluring about the idea of weightlessness, but Roger felt that such a surreal idea had to be expressed in a visually plausible way to create the sense of spaciousness and tranquillity he wanted to convey. The trees depicted are portraits of existing trees and the floating boulders they grow upon are modelled from sketches of rock formations.
These islands first appeared in his work in 1971, in the painting used for the cover of the Fragile album for Yes. Then they were fragments of a world breaking up. The islands recur in the painting for The Flights of Icarus, an illustrated book published by Paper Tiger in 1976
THE GUARDIANS ORIGINAL PAINTING 1991
MEDIUM Acrylic on Linen Canvas
Measurements 72” x 48”
Please direct any enquiries about this painting, by using the CONTACT form.
This painting appears on the Yes Union cover, and was painted to celebrate the re-formation of Yes. It is part of a series of paintings, based upon the landscapes of Utah and Arizona. Certain geological features are exaggerated but the essential inspiration for this painting, was the breathtaking beauty of this part of America.
OPEN EDITION PRINT £165.00
Open Edition Prints are not limited in the number made. The Open Edition Prints that we produce are made by Harwood King Printmakers (https://wwwharwoodking.com)
They are produced to an exceptional standard and use archival quality inks, that provide deep colour saturation. Somerset velvet paper has a thick soft and luxurious finish that shows off both colour and line to its best advantage.
MEDIUM Paper 155 lb’s (330 gsm) Somerset Velvet
Paper Size 23.4” x 16.5” (A2)
Approximate Image Size 21” x 14” (522mm x 352mm)
MEDIUM Acrylic on Linen Canvas
Measurements 72” x 48”
Please direct any enquiries about this painting, by using the CONTACT form.
This painting appears on the Yes Union cover, and was painted to celebrate the re-formation of Yes. It is part of a series of paintings, based upon the landscapes of Utah and Arizona. Certain geological features are exaggerated but the essential inspiration for this painting, was the breathtaking beauty of this part of America.
OPEN EDITION PRINT £165.00
Open Edition Prints are not limited in the number made. The Open Edition Prints that we produce are made by Harwood King Printmakers (https://wwwharwoodking.com)
They are produced to an exceptional standard and use archival quality inks, that provide deep colour saturation. Somerset velvet paper has a thick soft and luxurious finish that shows off both colour and line to its best advantage.
MEDIUM Paper 155 lb’s (330 gsm) Somerset Velvet
Paper Size 23.4” x 16.5” (A2)
Approximate Image Size 21” x 14” (522mm x 352mm)
FLOATING JUNGLE ORIGINAL PAINTING 2002
MEDIUM Acrylic on canvas 72” x 47”
Please direct any enquiries about this painting by using the CONTACT form.
On a 6 foot by 4-foot canvas, the image of a place that is dripping, sodden,, and so wet
That it might be underwater, started to take shape. After working with more than 15 layer of heavily diluted acrylic the painting slowly started to take shape.
LIMITED EDITION HANDFINISHED PRINT
A hand finished print is a unique print that has an added hand painted feature. This feature would be discussed and agreed with the artist.
This is a LARGE PRINT. It is printed on 300lb (640 gsm) heavy Waterford Watercolour Paper.
SIZE 60” x 40” (1523mm x 1017mm)
IMAGE SIZE 47” x 31.25” (1194mm x 714mm)
EDITION SIZE 45 plus 4 Artists Proofs
DESKTOP WALLPAPER
https://www.rogerdean.com/product-page/yes-floating-jungle-digital-download
MEDIUM Acrylic on canvas 72” x 47”
Please direct any enquiries about this painting by using the CONTACT form.
On a 6 foot by 4-foot canvas, the image of a place that is dripping, sodden,, and so wet
That it might be underwater, started to take shape. After working with more than 15 layer of heavily diluted acrylic the painting slowly started to take shape.
LIMITED EDITION HANDFINISHED PRINT
A hand finished print is a unique print that has an added hand painted feature. This feature would be discussed and agreed with the artist.
This is a LARGE PRINT. It is printed on 300lb (640 gsm) heavy Waterford Watercolour Paper.
SIZE 60” x 40” (1523mm x 1017mm)
IMAGE SIZE 47” x 31.25” (1194mm x 714mm)
EDITION SIZE 45 plus 4 Artists Proofs
DESKTOP WALLPAPER
https://www.rogerdean.com/product-page/yes-floating-jungle-digital-download
TALES FROM TOPOGRAPHICAL OCEANS ORIGINAL PAINTING 1973
MEDIUM Ink, Watercolour and Acrylic on Board
Measurements 25”x 20”
Please direct any enquiries about this painting by using the CONTACT form.
The idea was, that the design should work both as a drawing and as a code for locations elsewhere. All the locations are in a place where there is no separation between ocean and sky and where fish appear float or fly.
Limited Edition Screen print
Paper 240 lb’s (510gsm) Somerset TP acid free
Paper Size 34” x 24” (855mm x 620mm)
Image Size 28” x 17” (710mm x 440mm)
© Roger Dean 1973-1998
Edition Size 274 with 27 Artists proof
MEDIUM Ink, Watercolour and Acrylic on Board
Measurements 25”x 20”
Please direct any enquiries about this painting by using the CONTACT form.
The idea was, that the design should work both as a drawing and as a code for locations elsewhere. All the locations are in a place where there is no separation between ocean and sky and where fish appear float or fly.
Limited Edition Screen print
Paper 240 lb’s (510gsm) Somerset TP acid free
Paper Size 34” x 24” (855mm x 620mm)
Image Size 28” x 17” (710mm x 440mm)
© Roger Dean 1973-1998
Edition Size 274 with 27 Artists proof
CLOSE TO THE EDGE ORIGINAL PAINTING 1971
MEDIUM Ink and Watercolour on Board
Measurements, approximately 24”x 12”
Please direct any enquiries about this painting by using the CONTACT form.
The pathway on the right connects land with a lake that has apparently no source on the plateau of a mountain. Apparently floating above the watery mists of endlessly falling water.
This painting became the inner sleeve for Yes’s album, of the same name.
CLOSE TO THE EDGE ll HANDFINISHED PRINT
This is the second in a sequence of paintings based on the theme of the overflowing lake. As a student I went climbing all over Scotland and North Wales but I made one trip to the Lake District and climbed a small mountain, strangely called “Haystacks” and there right on the summit was a tiny lake called tarn. It amazed me it was clearly a permanent feature but equally clear was the fact that there was no source to replenish it apart from rain. It was however the source and inspiration for the painting. The original painting was made for the Yes album of the same name.
HANDFINISHED BY THE ARTIST
Prints hand finished and embellished by the artist, typically in editions of 50.
In 1997 when I made the first silkscreen print of "Tales From Topographic Oceans, I was asked to paint, as well as draw, remarque's on the print.
Test pieces were made on 638gsm Heavy Waterford Watercolour paper. The paper did not buckle or distort when worked upon. I let the image and instinct define what I would do and after a while I realised that I had two distinct approaches. With, for example, "Dragon at Dawn" or "Pathways" I worked with transparent paints to bring our the vivedness of the colour in the Dragon and in the foreground spiral in, "Pathways" this degree of enhancement reinforced the three dimensional effect.
In addition to the over painting, I added other features. For example, on the, "Close to the Edge" print I often painted extra trees in the foreground, or extra rock forms on, "Electric Sheep".
These hand painted enhancements were my response to the image and the moment and are unique to each print but I have also been asked to paint special features and a number of commissions have been completed.
All such additional work would be discussed and agreed.
MEDIUM Ink and Watercolour on Board
Measurements, approximately 24”x 12”
Please direct any enquiries about this painting by using the CONTACT form.
The pathway on the right connects land with a lake that has apparently no source on the plateau of a mountain. Apparently floating above the watery mists of endlessly falling water.
This painting became the inner sleeve for Yes’s album, of the same name.
CLOSE TO THE EDGE ll HANDFINISHED PRINT
This is the second in a sequence of paintings based on the theme of the overflowing lake. As a student I went climbing all over Scotland and North Wales but I made one trip to the Lake District and climbed a small mountain, strangely called “Haystacks” and there right on the summit was a tiny lake called tarn. It amazed me it was clearly a permanent feature but equally clear was the fact that there was no source to replenish it apart from rain. It was however the source and inspiration for the painting. The original painting was made for the Yes album of the same name.
HANDFINISHED BY THE ARTIST
Prints hand finished and embellished by the artist, typically in editions of 50.
In 1997 when I made the first silkscreen print of "Tales From Topographic Oceans, I was asked to paint, as well as draw, remarque's on the print.
Test pieces were made on 638gsm Heavy Waterford Watercolour paper. The paper did not buckle or distort when worked upon. I let the image and instinct define what I would do and after a while I realised that I had two distinct approaches. With, for example, "Dragon at Dawn" or "Pathways" I worked with transparent paints to bring our the vivedness of the colour in the Dragon and in the foreground spiral in, "Pathways" this degree of enhancement reinforced the three dimensional effect.
In addition to the over painting, I added other features. For example, on the, "Close to the Edge" print I often painted extra trees in the foreground, or extra rock forms on, "Electric Sheep".
These hand painted enhancements were my response to the image and the moment and are unique to each print but I have also been asked to paint special features and a number of commissions have been completed.
All such additional work would be discussed and agreed.
RELAYER ORIGINAL PAINTING 1974
MEDIUM WATERCOLOUR AND INK ON BOARD
MEASUREMENTS 16" x 32"
Please direct any enquiries about this painting by using the CONTACT form.
LIMITED EDITION FINE ART PRINT
Relayer is one of the most iconic of the Yes album designs and has appeared high up in many lists for best album cover on a par with Tales From Topographic Oceans. Roger has often said that “The Gates of Delirium” together with “Soon”, a section of the piece, is his favourite Yes track. He has also said that he felt that “The Gates of Delirium” would have made a much better title for both the album and the painting than “Relayer”, having both a far greater resonance and relevance. Relayer has always been one of his favourite paintings and together with Asia’s ‘Alpha, represented the high point of his ‘drawn’ works on stretched paper before he changed his style for major coloured pieces by painting directly on canvas (usually linen).
It was painted at a time when the expectation was for Roger to paint in ever more vivid colours and this, a drawing tinted with water colour in little more than the water used to rinse the brush, was in sharp contrast to that notion.
The energy of the painting is conveyed in the swirling forms of the huge gothic structures, with the snakes adding a fluid coda of their own. Roger has very often created creatures that are made up entirely from nature such as the Dragonflies in the square chop Yes logos which were produced as an accurate black and white pen drawing, yet the wing markings come from moths and finally in two cases the colouring is based on tropical fresh water fish. With this in mind Roger had long held a wish to revisit the natural history of the two snakes and the making of this print gave him the opportunity.
The new versions are based largely on Rattlesnakes especially the horns over the eyes, yet he did not include the very dramatic ‘keeled’ scales of this species wanting something sleeker. So the patterns and the smoother scales are from the viper family and the spine is from a fish.
The print is a combination of elements from the original painting and the new painting completed in October 2019 and has been produced with a mix of inkjet (giclée) and silkscreen (serigraph) printing techniques.
DESKTOP WALLPAPER
https://www.rogerdean.com/product-page/gates-of-delerium-digital-download
This is a recent re-working of the original Relayer painting.
MEDIUM WATERCOLOUR AND INK ON BOARD
MEASUREMENTS 16" x 32"
Please direct any enquiries about this painting by using the CONTACT form.
LIMITED EDITION FINE ART PRINT
Relayer is one of the most iconic of the Yes album designs and has appeared high up in many lists for best album cover on a par with Tales From Topographic Oceans. Roger has often said that “The Gates of Delirium” together with “Soon”, a section of the piece, is his favourite Yes track. He has also said that he felt that “The Gates of Delirium” would have made a much better title for both the album and the painting than “Relayer”, having both a far greater resonance and relevance. Relayer has always been one of his favourite paintings and together with Asia’s ‘Alpha, represented the high point of his ‘drawn’ works on stretched paper before he changed his style for major coloured pieces by painting directly on canvas (usually linen).
It was painted at a time when the expectation was for Roger to paint in ever more vivid colours and this, a drawing tinted with water colour in little more than the water used to rinse the brush, was in sharp contrast to that notion.
The energy of the painting is conveyed in the swirling forms of the huge gothic structures, with the snakes adding a fluid coda of their own. Roger has very often created creatures that are made up entirely from nature such as the Dragonflies in the square chop Yes logos which were produced as an accurate black and white pen drawing, yet the wing markings come from moths and finally in two cases the colouring is based on tropical fresh water fish. With this in mind Roger had long held a wish to revisit the natural history of the two snakes and the making of this print gave him the opportunity.
The new versions are based largely on Rattlesnakes especially the horns over the eyes, yet he did not include the very dramatic ‘keeled’ scales of this species wanting something sleeker. So the patterns and the smoother scales are from the viper family and the spine is from a fish.
The print is a combination of elements from the original painting and the new painting completed in October 2019 and has been produced with a mix of inkjet (giclée) and silkscreen (serigraph) printing techniques.
DESKTOP WALLPAPER
https://www.rogerdean.com/product-page/gates-of-delerium-digital-download
This is a recent re-working of the original Relayer painting.
ASTRA ORIGINAL PAINTING 1985
MEDIUM Acrylic on Canvas
Measurements 72” x 48”
Please direct any enquiries about this painting by using the CONTACT form.
Originally conceived for the cover of the Asia album of the same name, the first title of the album was, ‘Innocence’.
ASTRA is also available singly as desktop wallpaper or as part of a set.
MEDIUM Acrylic on Canvas
Measurements 72” x 48”
Please direct any enquiries about this painting by using the CONTACT form.
Originally conceived for the cover of the Asia album of the same name, the first title of the album was, ‘Innocence’.
ASTRA is also available singly as desktop wallpaper or as part of a set.
THE FETCH ORIGINAL PAINTING 2015
MEDIUM Acrylic on Canvas 72” x 48”
Please direct any enquiries about this painting by using the CONTACT form.
This painting was created for the album cover of the same name by Linda Hoyle.
“When Linda and Mo asked me, I was very pleased to work on The Fetch, I loved the title and the music. The definition of Fetch gave me a lot of scope. I wanted to take the notion of a wraith out of the human and personal into something architectural and landscape in scale. Something that was moving and ethereal but that gave the sense that you could walk around and explore but to not lose all the sinister qualities of the Fetch."
MEDIUM Acrylic on Canvas 72” x 48”
Please direct any enquiries about this painting by using the CONTACT form.
This painting was created for the album cover of the same name by Linda Hoyle.
“When Linda and Mo asked me, I was very pleased to work on The Fetch, I loved the title and the music. The definition of Fetch gave me a lot of scope. I wanted to take the notion of a wraith out of the human and personal into something architectural and landscape in scale. Something that was moving and ethereal but that gave the sense that you could walk around and explore but to not lose all the sinister qualities of the Fetch."
FRAGILE WORLD GREEN ORIGINAL PAINTING 2014
MEDIUM Acrylic on canvas
Measurements 39”x39”
Please direct any enquiries about this painting by using the CONTACT form.
This is one of three variations on the theme of, ‘Fragile World”, the others being, Fragile World Red” and “Fragile World Sea”. The fragmented world carries life as a tree clinging to a cliff edge. It is pictured against a bleak night sky devoid of any other object.
MEDIUM Acrylic on canvas
Measurements 39”x39”
Please direct any enquiries about this painting by using the CONTACT form.
This is one of three variations on the theme of, ‘Fragile World”, the others being, Fragile World Red” and “Fragile World Sea”. The fragmented world carries life as a tree clinging to a cliff edge. It is pictured against a bleak night sky devoid of any other object.
This painting was originally produced as the cover for the Uriah Heep, 'Wizards and Demons' record album. A mixed media painting including ink, watercolour and Butterfly wings.
An everlasting waterfall cascades over space dust in moonlight. A wizard casts stardust around him, creating illusions of reality.
An everlasting waterfall cascades over space dust in moonlight. A wizard casts stardust around him, creating illusions of reality.
FRAGILE WORLD SEA/BLUE ORIGINAL PAINTING 2014
MEDIUM Acrylic on canvas
Measurements 39”x39”
Please direct any enquiries about this painting by using the CONTACT form.
This painting was originally produced for the last NEAREST (North Easter Rock Festival).
MEDIUM Acrylic on canvas
Measurements 39”x39”
Please direct any enquiries about this painting by using the CONTACT form.
This painting was originally produced for the last NEAREST (North Easter Rock Festival).
STAIRWAY TO HEAVEN ORIGINAL PAINTING 2007
MEDIUM Acrylic on Canvas
Measurements 39”x39”
Please direct any enquiries about this painting by using the CONTACT form.
This painting was produced for the cover of the 2007 Yes two disc documentary,
“Yes: Classic Artists, Their Definitive Story.
MEDIUM Acrylic on Canvas
Measurements 39”x39”
Please direct any enquiries about this painting by using the CONTACT form.
This painting was produced for the cover of the 2007 Yes two disc documentary,
“Yes: Classic Artists, Their Definitive Story.
FRAGILE WORLD RED ORIGINAL PAINTING 1972 2014
MEDIUM Acrylic on canvas
Measurements 39”x39”
Please direct any enquiries about this painting by using the CONTACT form.
After Roger had painted the cover for Yes’s fourth album, ‘Fragile’, I changed the shapes of the fragments of the world from quite, ’blocky’ chunks to segments that were more ‘pie’ shaped for the triple album, ‘Yessongs’ and at the same time sketched out the Fragile World. This was in 1972, but id didn’t complete the painting until a further 40 years had passed!
MEDIUM Acrylic on canvas
Measurements 39”x39”
Please direct any enquiries about this painting by using the CONTACT form.
After Roger had painted the cover for Yes’s fourth album, ‘Fragile’, I changed the shapes of the fragments of the world from quite, ’blocky’ chunks to segments that were more ‘pie’ shaped for the triple album, ‘Yessongs’ and at the same time sketched out the Fragile World. This was in 1972, but id didn’t complete the painting until a further 40 years had passed!
SHADOWLAND ORIGINAL PAINTING 1993
MEDIUM Acrylic on canvas
Measurements 72”x48”
Please direct any enquiries about this painting by using the CONTACT form.
This painting was used for the cover of, Symphonic Music of Yes. This is another of Roger’s paintings that have been inspired by the colours and forms of the American landscape.
MEDIUM Acrylic on canvas
Measurements 72”x48”
Please direct any enquiries about this painting by using the CONTACT form.
This painting was used for the cover of, Symphonic Music of Yes. This is another of Roger’s paintings that have been inspired by the colours and forms of the American landscape.
PATHWAYS ORIGINAL PAINTING 1973
MEDIUM Watercolour, Ink, Gouache on board.
Measurements 31”x43”
Please direct any enquiries about this painting by using the CONTACT form.
MEDIUM Watercolour, Ink, Gouache on board.
Measurements 31”x43”
Please direct any enquiries about this painting by using the CONTACT form.
CICADA ORIGINAL PAINTING 2021
MEDIUM Acrylic on canvas
Measurements 48”x72”
Please direct any enquiries about this painting by using the CONTACT form.
This painting was commissioned by Steve Hackett for his: Premonitions: The Charisma Recordings 1975 – 1983.
The figure and floating vehicle that he is standing on were painted separately to the surrounding trees, and the trees are portraits of local trees. Roger has always tried to make the implausible plausible, by paying as much attention as possible to the separate elements in his paintings and reproducing their likeness in a way that causes a momentary suspension of disbelief. The atmosphere evoked is bright and hopeful even though the word, ‘Premonition’ is usually associated with a warning or threat, but such warnings when they come in sunshine cause tension and dissonance.
MEDIUM Acrylic on canvas
Measurements 48”x72”
Please direct any enquiries about this painting by using the CONTACT form.
This painting was commissioned by Steve Hackett for his: Premonitions: The Charisma Recordings 1975 – 1983.
The figure and floating vehicle that he is standing on were painted separately to the surrounding trees, and the trees are portraits of local trees. Roger has always tried to make the implausible plausible, by paying as much attention as possible to the separate elements in his paintings and reproducing their likeness in a way that causes a momentary suspension of disbelief. The atmosphere evoked is bright and hopeful even though the word, ‘Premonition’ is usually associated with a warning or threat, but such warnings when they come in sunshine cause tension and dissonance.
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