Thomas Quinn lives and paints on the northern coast of California. He is a regionalist who disciplines himself to a limited palette and a limited focus toward local subjects - plants and animals - that are entirely familiar to him.
This intimacy with the daily behavior, attitudes and intelligence of the wild ensures veracity as well as a willingness to dignify the lives of common creatures.
"Sometimes," Quinn says, "the paint can transcend the flat surface of the canvas, and the result assumes the elusive quality of a wild thing."
The philosophy of "less is more" is evident in Quinn's art. He has "always admired the magic of negative space, what is left unsaid."
One finds in his elegance and simplicity intriguing parallels with the Chinese masters of the Sung dynasty and 18th century Japanes landscape painters - a tendency to suggest with calligraphic brevity, allowing much revelation to be completed in the viewer's mind. " I try to turn the viewer of my paintings loose by giving his imagination plenty of room to expand. Then he is traveling on his own."
Quinn graduated with distinction from the prestigious Art Center College of Design in Los Angeles. He has had exhibits at galleries and museums around the country, including a one-man show at the Frederic Remington Art Museum.
Quinn is a regular exhibitor at the Leigh Yawkey Woodson Art Museum's "Birds in Art" show; his work is also among the museum's permanent collection.
He is the author of the The Working Retrievers, a large handsome volume, written in an exceptional narrative style, now considered a classic on the subject of field retrievers.