I have never heard of John Moore. But I actually gasped upon opening your email and see that incredible charcoal piece. I had to look more into his work...just stunning. I'm not sure what I like better, his charcoals or watercolors. Absolutely incredible. I really gravitate to works that seems to hold a quiet power to them and his work definitely does that. Thanks so much for sharing!
I have known Moore's work for so long I forget that he has had a very quiet, steady, and consistent career under the radar. I don't know if I can pick a favorite either. They all have their own power that weave through each of his mediums. I was first introduced to his Coatesville work and then it just mushroomed from there. I must say, I am really enjoying his recent window works. It has me thinking. BTW, I haven't forgot about our earlier conversation. I will be in touch soon.
So nice to see John Moore again after so many years. He was somebody I looked at and liked in high school (in 1977!) Then I lost track of him. It's good to know that he's been at it this whole time. Peter Devine, my late HS painting teacher – and close friend and colleague ever since – turned me on to Moore when I was just seventeen. But I lost track of him. Thanks for reminding us that he's been there all along. Here's a piece I wrote about Peter some years back. He died last summer, way too young at 77: https://open.substack.com/pub/windmillslayer/p/part-three-peter-devine?r=3a54by&utm_campaign=post&utm_medium=web&showWelcomeOnShare=false
I have been thinking a lot about lineage lately and your piece on Peter reinforces some of my ideas. In the case of Peter(by your account) and I think of Moore, you can see someones lineage while simultaenously their work is truly their own. It makes them stand out in their own time or maybe even be concealed. This is what I see in Moore, that very personal weave of art history that is solely his. Moore has been steadily and consistently pursuing his work in Boston, then Philly, and now Maine.
I have never heard of John Moore. But I actually gasped upon opening your email and see that incredible charcoal piece. I had to look more into his work...just stunning. I'm not sure what I like better, his charcoals or watercolors. Absolutely incredible. I really gravitate to works that seems to hold a quiet power to them and his work definitely does that. Thanks so much for sharing!
I have known Moore's work for so long I forget that he has had a very quiet, steady, and consistent career under the radar. I don't know if I can pick a favorite either. They all have their own power that weave through each of his mediums. I was first introduced to his Coatesville work and then it just mushroomed from there. I must say, I am really enjoying his recent window works. It has me thinking. BTW, I haven't forgot about our earlier conversation. I will be in touch soon.
So nice to see John Moore again after so many years. He was somebody I looked at and liked in high school (in 1977!) Then I lost track of him. It's good to know that he's been at it this whole time. Peter Devine, my late HS painting teacher – and close friend and colleague ever since – turned me on to Moore when I was just seventeen. But I lost track of him. Thanks for reminding us that he's been there all along. Here's a piece I wrote about Peter some years back. He died last summer, way too young at 77: https://open.substack.com/pub/windmillslayer/p/part-three-peter-devine?r=3a54by&utm_campaign=post&utm_medium=web&showWelcomeOnShare=false
I have been thinking a lot about lineage lately and your piece on Peter reinforces some of my ideas. In the case of Peter(by your account) and I think of Moore, you can see someones lineage while simultaenously their work is truly their own. It makes them stand out in their own time or maybe even be concealed. This is what I see in Moore, that very personal weave of art history that is solely his. Moore has been steadily and consistently pursuing his work in Boston, then Philly, and now Maine.