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© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Ocean Stonehenge - These rocks at Mona Vale have tumbled from the cliffs above over the years. I particularly enjoyed painting the contrasts between the wild surf and the glassy wet sand.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Stone Fires and Nightfalling Cockatoos - As I was painting this cliff face from above the Kangaroo River a sort of glowing coal-fire emerged which, along with the flight of the Black Cockatoos, evoked the ancient dusk campifre stories of this place.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Highlands Muster - When I was asked by a client to paint this droving scene from the Southern Highlands I accepted without hesitation because I'd never done anything like it before. Although I'm quite familair with painting mist and gum trees and morning light I normally stay clear of populating such subjects with horses, cattle and stockmen because this narrative detracts from the real subject. However it's such a time honoured tradition in Australain painting I had to give it a try.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Balmoral Summer - Mostly on a summer's afternoon this beach is teeming with people. Having spent much of my life in wilderness I often find myself imagining such a beach as empty and therefore more inviting. It's a classic golden sand and blue harbour scene.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - The Island - Winter Contre-Jour - The low sun in clear cold skies makes the harbour sparkle for much longer each winter day. Although the air's too clear for the typical european contre-jour haze there is a sort of central glow to this painting.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Balmoral Silver - I've painted this beach so many times but this is possibly my favourite - partly because it's a long way from the cliched golden beach. This was such a bleak and wet and cold and uninviting day but for some reason it's rich and wild and romantic and strong and colourful...

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Winter Shadows - Barrenjoey - This is the north end of Palm Beach where even in mid winter it's so sheltered from the prevailing north-easterlies that you can go sunbaking (just like Summer Bay...). The last afternoon sun creates great clear light in this corner.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Time And Again - This is like a quantum view - a subject that can still be conveyed fairly clearly with multiple concurrent and mirroring viewpoints. Cubism did it by destroying traditional space but this painting creates a space which still seems real - sort of quantum metaphysics. I'd like to do more in this direction as it's still a bit of a mystery to me.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Empty Silver - A soft silver coloured painting that's got sky and sand and water all mixed up in one large flat expanse. This is a painting that gives only occasional clues over the surface as to what the subject actually is. Some would call this abstract but I prefer to think of it as a bit like Count Basie saying the real music is what's between the notes.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - The Pool At Midday - I started this painting by creating the green bronze/mossy texture first and then picking out sunlit highlights to show rocks and trees. Later I painted the water. The subject is the contrast between what's ouside the canopy - the intensely lit clearing at the top - and the what's inside - the muted cool dappled darkness.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Eucalypt Study - Roberts, Heyson, Namatjira, Whiteley and many others have made the eucalypt an icon of Australian painting. This is a study of the range and complexities of shadows on smooth skin.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Morning At Nellies Glen - Painted on site over a couple of cold mornings in the Southern Highlands. The choice of subject, the mistiness and muted colour and the style of the trees owe a lot to the 18th Century European Romantic tradition.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - The Pavilion Steps - This is a sort of pair to The Bridge At Dusk - the strange emptiness of the beach becomes even more accentuated late at night.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - The Bay - Another simpler study from Balmoral (more accurately Edwards Beach) working with the intense colours of shadows on sand.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - The Bridge At Dusk - I rarely include man-made objects as anything but incidental to a painting. But I've painted this bridge so many times now I felt it deserved a more central role - particularly because the nocturnal light makes for an interesting staged effect.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - A Warm Corner Balmoral - In mid-winter, when the colours are clearest, this corner of Balmoral Beach is one of the most sheltered and warmest places in Sydney.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Littoral Shadows - A study in contrasts - colour, texture, shade and movement. This is from a beach on Philip Island in Victoria. I sort of stumbled on the way to paint the shallow water effects and that always makes a painting more enjoyable.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Towards Grotto Point - A very horizontal composition relying heavily on the "Foreground, Middleground, Background" divisions which are seen in almost all landscape painting. I may add some dappled sunlight onto the stone wall, having observed this on a recent visit.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings- Badangi - Painted on a very grey day - it's strange how in that light all your paint colours look much stronger on site because your eyes are so used to the dimness. When I got this one back to the studio I had to strengthen the colour a lot.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Berrys Creek II - A rich coloured little study of emerging sunlight on sandstone and bush and water. This was painted on site 10 minutes walk from home.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Berry's Bay After Fire - The bush after fire is always more spacious and full of contrasts - this was painted on an early summer afternoon after a spring burn-off. The subject is mainly the contrast between the blue-purple contre-jour haze to the west and the dry burnt silhouetted foreground.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Shadow Tide - A study of afternoon shadows on a tiny beach between rocks with the incoming tide. The focus here is the blue foam in the sharply edged shadows.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Sand Tide - Painted from above the rocks shown in the background of the previous painting "Shelly Beach". Flattened compositions like this accentuate the open and empty quality of beaches which is a large part of my attraction to them as a subject.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Winter Sun I - One of a pair of more intimate studies of the waterline. The other is "Winter Sun II".. They both have clear sunlight, transparent water and wet sand as the central topic.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Blue Waves At Dawn - From a cold wet night clearing at dawn. This obviously had to be reconstructed from photos (several were used) in the studio later. Such a subject is way too fleeting to attempt otherwise - just the long drying times alone make it impossible.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Winter Sun II - The second of 2 intimate waterline studies. The clarity of colour in Winter seems to be a lot more pronounced. But is this just an emotional response because we see so much less of it?

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Nocturne III - 1a.m. Sandstone - On Cockatoo Island many of the large naval buildings have been demolished to reveal a huge sandstone cliff which is illuminated all night - some day it'll be shut down to conserve energy - until then the cliffs achieve a dominant beauty not seen by daylight.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Nocturne I - The Ferry Wharf - Sandstone, water and stars by flourescent light - nocturnes take on a sort of stagelit effect.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Into The Valley I - The great attraction with a misty subject like this is being able to aimlessly drift off entire sandstone cliffs and forests into nothingness. It's a sort of radical destruction of the logical world and it's also what attracted Monet to paint lilyponds.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Northern Estuary - Watercolour is not my normally chosen language - you have to think backwards from what you do as an "opaque" painter. You also have to be very accurate with your highlights because they have to be left as base paper.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Lake Memories - Beside a holy lake in the grounds of a temple I found huge reticulated pythons sleeping in a glass-topped box with the reflection of the trees interacting with the sunlit patterns of their skin. It was such a hypnotic image which also invoked the story of Genesis and the Expulsion (ancient painting themes) that I had to see what I could do with it.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Creation 2 (From The Pool Of Stars) - From the deep indigo of night emerge stars and stones. In the bush a water pool is the primordial centre of existence - the mother of life and light.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Creation 3 (From Fire And Falling Mist) - The Australian bush after fire invokes an image of the hope of regrowth over the skeletal remains of the earth. I added the falling smoke/mist progression to accentuate the timelessness of this process.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Creation 4 (From The Valley Thermals) - The Eastern coastal plains have the richest concentration of humidity and therefore life - in high contrast to the deserts of the interior. Here I have envisioned this primordial humidity as a sort of mirage/mandala.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Creation 5 (In A Time Between Oceans) - This painting comes from an area quite close to where I live which was heavily used by the Cammeraygal people for millennia before white settlement, as evidenced by large middens nearby and faintly suggested rock engravings in the painting. I have broadened this timeframe to show that this has all happened in a time between oceans - millions of years in the past and perhaps not so far in the future.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Creation 6 (Night Falls At Badangi) - A simple poetic work showing night falling with an echo of stars falling. This image like many others on this page was something that fell into my mind out of nowhere while onsite researching for a painting. I have often found that those things which come from nowhere and therefore go nowhere are very closely connected to a purer form of reality.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Creation 7 (A Day Between The Stars And Dawn) - This is a painting about revelation - in the middle of darkness, even before dawn comes the first flash of daylight. It's like a vision of the Reason of Apollo in the primordial darkness.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Creation 8 (A Land Between Fire And Water) - In many ways we see our life has emerged on earth from a time of fire and volcanoes. And we find ourselves now on islands surrounded by oceans. For the fire I used a device I have often used in the past - the light of a reflected sunset on trees - for some reason the composition looked better with this section on its side.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Creation 9 (Arckaringa - Apollo Dreams Of His Forbidden Birth) - This painting started as a seascape dawn as a symbol of the birth of day and therefore of Apollo. Somehow it developed into a sort of desert dream in the cosmos. Like Apollo it came from nowhere.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Collins Beach - A Break In The Drought - A noisy trickle of water from the previous night's rain marks an end to a long drought. A small ray of hope on a once-pristine beach - this is where Capt. Philip was speared for interfering with the locals dividing up a beached whale in May 1790.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Gateway - From a series of paintings I've done over the years where the subject is what's at my feet. Often, as with this one, the centre of the composition is empty. The gap between the stones gives a symmetry to an otherwise informal arrangement.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Woolwich Water - Many of my paintings, particularly the water surface studies, are about the interaction of different layers with each other. These layers are mainly produced not from the water itself but from the elements outside the painting - in this case, the sky, the buildings and the wind. With water the subject is often Emptiness.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Falling Mist - This painting started as a play on the idea of mist falling using a sort of progressive falling and disintegration of images. It also invokes the idea of a theatrical curtain similar to lowering mist. I'ts very simple and lyrical - the bush in a quiet and intimate mood.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Seminyak Silver - The idea of a silver beach is a cliche invoking white sand and bright light. I've found that a beach looks more like true silver metal when the sand is a darker volcanic grey and the light is a lot less intense. I've also painted this particular beach as Turquoise and as Jade. This painting is a sort of reconstruction from collaged realist sources - it can even be turned upside down for a different effect!

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Squared Water II Wind on Water- The 2 Squared Water paintings while being studies of a moment in time are also studies in symmetry and randomness. They have been carefully constructed from heavily edited photographs, but they also rely on totally unpredictable effects produced by the interaction of glazes and large calligraphic brushes.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Long Reef - Last Light - Long Reef is the only non-sandstone headland I know in the Sydney area coastline. The soft red earth stone it's made from stains the local beaches with its erosion and its reflections - especially at sunset. This painting needed dramatic water effects to match the dramatic colours.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Rise And Fall - Balmoral Nocturne - Full moon rising and light rain falling with a strange sort of empty calmness between ... This is a record of a dramatically different night on a very familiar beach.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Edwards Beach - Afternoon - These two Edward's Beach paintings are very simple studies from a day on a beach that I've painted many times, although rarely on site. They were painted a very short distance from each other and are much looser than most of my other work from there.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Edwards Beach - Morning - These two Edward's Beach paintings are very simple studies from a day on a beach that I've painted many times, although rarely on site. They were painted a very short distance from each other and are much looser than most of my other work from there.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Longueville Water - Painting water is about painting layers - if you can see and understand the external atmosphere of the painting you can see the reason for each layer. For example the pale green layer is caused by sunlight filtering into the depths and the cream coloured calligraphic marks are cloud reflections. Each layer of marks has a reason although it looks like an abstraction.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Parallels - I have often used the duality of the reflection and the reflected as a subject of paintings. This painting explores the idea that even when I try to destroy this duality (by painting only the reflection as the reflected) I am still left with it because no two brush marks can be identical - above is still different from below - parallel is never quite parallel.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Squared Water I Yacht Reflections- The 2 Squared Water paintings while being studies of a moment in time are also studies in symmetry and randomness. They have been carefully constructed from heavily edited photographs, but they also rely on totally unpredictable effects produced by the interaction of glazes and large calligraphic brushes.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Badangi Afternoon - Badangi Reserve and Berry's Island are the arms encircling a small cove on Sydney Harbour. I painted each from the focus point of the other (one in the morning and one in the afternoon. This was from the beach shown in "Berry's Island - Morning".

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Berrys Island Morning - Badangi Reserve and Berry's Island are the arms encircling a small cove on Sydney Harbour. I painted each from the focus point of the other (one in the morning and one in the afternoon. This was from the point at the end of the rocks shown in "Badangi - Afternoon"

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Blue Gums And Sandstone - Because the colour contrast between these gums in shadow and the sunlit cliffs only existed for an hour or so each afternoon I had to work on this painting on 2 consecutive days as I returned to my campsite from working elsewhere. It's the sort of subject that photographs never capture because exposure never shows the shadows and sunlit areas evenly.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Bush Study After Rain - I was lucky enough to have a picnic-shed as shelter on this painting trip and was able to spend time studying the rich wet colours of the wattles and wet grass.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Cockatoos At Fairview - This subject of this painting was about a kilometre away down a long valley. I had to invent details from textural effects rather than copy what I saw.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Turquoise Summer I - The two Turquoise Summer paintings are realist memories of brilliant sunshine clear water and intense colours from a January trip down the coast from Sydney.

© copyright Neil Taylor Web Gallery - Australian Landscape and Seascape Paintings - Turquoise Summer II - The two Turquoise Summer paintings are realist memories of brilliant sunshine clear water and intense colours from a January trip down the coast from Sydney.

Australian Art

Falling Mist - This painting started as a play on the idea of mist falling using a sort of progressive falling and disintegration of images. It also invokes the idea of a theatrical curtain similar to lowering mist. I'ts very simple and lyrical - the bush in a quiet and intimate mood. Seminyak Silver - The idea of a silver beach is a cliche invoking white sand and bright light. I've found that a beach looks more like true silver metal when the sand is a darker volcanic grey and the light is a lot less intense. I've also painted this particular beach as Turquoise and as Jade. This painting is a sort of reconstruction from collaged realist sources - it can even be turned upside down for a different effect! Time And Again - This is like a quantum view - a subject that can still be conveyed fairly clearly with multiple concurrent and mirroring viewpoints. Cubism did it by destroying traditional space but this painting creates a space which still seems real - sort of quantum metaphysics. I'd like to do more in this direction as it's still a bit of a mystery to me. Lake Memories - Beside a holy lake in the grounds of a temple I found huge reticulated pythons sleeping in a glass-topped box with the reflection of the trees interacting with the sunlit patterns of their skin. It was such a hypnotic image which also invoked the story of Genesis and the Expulsion (ancient painting themes) that I had to see what I could do with it. Parallels - I have often used the duality of the reflection and the reflected as a subject of paintings. This painting explores the idea that even when I try to destroy this duality (by painting only the reflection as the reflected) I am still left with it because no two brush marks can be identical - above is still different from below - parallel is never quite parallel. Squared Water I - The 2 Squared Water paintings while being studies of a moment in time are also studies in symmetry and randomness. They have been carefully constructed from heavily edited photographs, but they also rely on totally unpredictable effects produced by the interaction of glazes and large calligraphic brushes. Squared Water II - The 2 Squared Water paintings while being studies of a moment in time are also studies in symmetry and randomness. They have been carefully constructed from heavily edited photographs, but they also rely on totally unpredictable effects produced by the interaction of glazes and large calligraphic brushes. Woolwich Water - Many of my paintings, particularly the water surface studies, are about the interaction of different layers with each other. These layers are mainly produced not from the water itself but from the elements outside the painting - in this case, the sky, the buildings and the wind. With water the subject is often Emptiness. Longueville Water - Painting water is about painting layers - if you can see and understand the external atmosphere of the painting you can see the reason for each layer. For example the pale green layer is caused by sunlight filtering into the depths and the cream coloured calligraphic marks are cloud reflections. Each layer of marks has a reason although it looks like an abstraction. Gateway - From a series of paintings I've done over the years where the subject is what's at my feet. Often, as with this one, the centre of the composition is empty. The gap between the stones gives a symmetry to an otherwise informal arrangement. Collins Beach - A Break In The Drought - A noisy trickle of water from the previous night's rain marks an end to a long drought. A small ray of hope on a once-pristine beach - this is where Capt. Philip was speared for interfering with the locals dividing up a beached whale in May 1790. Long Reef - Last Light - Long Reef is the only non-sandstone headland I know in the Sydney area coastline. The soft red earth stone it's made from stains the local beaches with its erosion and its reflections - especially at sunset. This painting needed dramatic water effects to match the dramatic colours. Rise And Fall - Balmoral Nocturne - Full moon rising and light rain falling with a strange sort of empty calmness between ... This is a record of a dramatically different night on a very familiar beach. The Island - Late Winter The Island Autumn LowTide Turquoise Summer I - The two Turquoise Summer paintings are realist memories of brilliant sunshine clear water and intense colours from a January trip down the coast from Sydney. Turquoise Summer II - The two Turquoise Summer paintings are realist memories of brilliant sunshine clear water and intense colours from a January trip down the coast from Sydney. Littoral Shadows - A study in contrasts - colour, texture, shade and movement. This is from a beach on Philip Island in Victoria. I sort of stumbled on the way to paint the shallow water effects and that always makes a painting more enjoyable. Badangi Afternoon - Badangi Reserve and Berry's Island are the arms encircling a small cove on Sydney Harbour. I painted each from the focus point of the other (one in the morning and one in the afternoon. This was from the beach shown in "Berry's Island - Morning". Berrys Island Morning - Badangi Reserve and Berry's Island are the arms encircling a small cove on Sydney Harbour. I painted each from the focus point of the other (one in the morning and one in the afternoon. This was from the point at the end of the rocks shown in "Badangi - Afternoon" Berry's Bay After Fire - The bush after fire is always more spacious and full of contrasts - this was painted on an early summer afternoon after a spring burn-off. The subject is mainly the contrast between the blue-purple contre-jour haze to the west and the dry burnt silhouetted foreground. Bush Study After Rain - I was lucky enough to have a picnic-shed as shelter on this painting trip and was able to spend time studying the rich wet colours of the wattles and wet grass. Cockatoos At Fairview - This subject of this painting was about a kilometre away down a long valley. I had to invent details from textural effects rather than copy what I saw. Blue Gums And Sandstone - Because the colour contrast between these gums in shadow and the sunlit cliffs only existed for an hour or so each afternoon I had to work on this painting on 2 consecutive days as I returned to my campsite from working elsewhere. It's the sort of subject that photographs never capture because exposure never shows the shadows and sunlit areas evenly. Badangi - Painted on a very grey day - it's strange how in that light all your paint colours look much stronger on site because your eyes are so used to the dimness. When I got this one back to the studio I had to strengthen the colour a lot. Edwards Beach - Morning - These two Edward's Beach paintings are very simple studies from a day on a beach that I've painted many times, although rarely on site. They were painted a very short distance from each other and are much looser than most of my other work from there. Edwards Beach - Afternoon - These two Edward's Beach paintings are very simple studies from a day on a beach that I've painted many times, although rarely on site. They were painted a very short distance from each other and are much looser than most of my other work from there.

Australian artists, Australian art, Australian paintings and prints, Australian Seascape paintings, Australian seascape prints, Australian ocean paintings, ocean prints, wave paintings, wave prints, island paintings, island prints, storm paintings, storm prints. Australian Limited edition Giclee prints on canvas.

Seascape Paintings

Seascape paintings and prints. Seascape paintings, seascape prints, ocean paintings, ocean prints, wave paintings, wave prints, island paintings, island prints, storm paintings, storm prints. Limited edition Giclee prints on canvas.

Landscape Paintings

Landscape paintings and prints. Landscape paintings, Landscape prints, bush paintings, Desert prints, Desert paintings, Limited edition Giclee prints on canvas.

.Internationally recognized Australian Artist Neil Taylor exhibits a selection of his unique Landscape Water and Seascape Paintings Art and Prints